Monthly Archives: December 2012

A.Krauza- On the Waterfront

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In the awarding winning American classic On the Waterfront, Elia Kazan gave viewers a glimpse into the painstaking life that existed for longshoremen on the docks of the Hoboken waterfront. Each day, they struggled to free themselves from the mobsters that controlled their livelihood. Following the longshoremen through their journey against hardship, corruption and scandal, Kazan demonstrated directorial brilliance in the mise-en-scène he employed.

The opening extreme long shot introduced both the mobster union delegates and the vast waterfront, as Leonard Bernstein’s ominous musical score played in the background. This musical piece became indicative of impending conflict in future scenes. The camera shots throughout the film were basic, consisting mostly of mid-range close-ups of two character conversations and wide shots to include the background and multiple characters. The lighting appeared to be natural, without the addition of artificial sources. The dimly lit cargo “hole”, bar, apartments and alleyways represented the dark dismal places they actually were to the characters.

The movie was filmed in black-and-white in keeping with the time period and tone of the storyline. Color would have been too vibrant, cheerful and distracting. In addition, it was filmed on location, not a set, for authenticity. The characters wore the same costumes throughout the film, making them easily identifiable. The only significant costume change was the passing of Doyle’s jacket to Dugan, and then to Terry in the final scene. Wearing the jacket symbolized Terry’s willingness to finally stand up for his principles.

Dialogue in the film included an excessive use of slang. Slang was used to identify the longshoremen as their own sub-culture, with a particular vocabulary they used amongst their peers. “Potato-eater” was a negative ethnic reference to an Irishman, which many of the dock workers were. “Cheese-eater,” “canary,” and “rat” all signified someone who would become an informant against their own group. “Pigeons,” however, had multiple meanings. Terry found his escape caring for the pigeons on the rooftop. They symbolized the life of a longshoreman: sleep, eat, fly like crazy, stay loyal until death, but remain caged under someone else’s control (the mob). He identified with them. According to Terry, pigeons would always fall victim to the hawks that swoop down from overhead. Pigeon was also a negative reference to a “stool pigeon,” another slang term for an informant. Ironically, Terry used a pigeon to lure Doyle to the roof, and to his death.

Alcohol, especially whiskey and beer, played a significant role throughout the film. The powerful mobsters worked out of the back room of a bar. Whenever they held a meeting, a bottle was visible on the table. Dugan, an Irishman, wished for a shipment of good whiskey to unload, and finally received his wish. He happily stole and stashed a bottle in his jacket. Ultimately, the Irish whiskey killed him, as the boxes “accidentally” crashed down on him. Beer was the drink of the commoners. On at least two occasions, Father Barry drank with the longshoremen. This signified that the priest, although religious, was one of them. In addition, Edie drank for the first time on a “date” with Terry. In this case, drinking symbolized her loss of innocence from her good Catholic upbringing.

The famous car scene between Terry and Charlie Malloy was filmed to cinematic perfection. The two men sat close together in the cramped back seat. For most of the scene, both men were visible, with the over-the-shoulder camera angle shifting to capture facial reactions. Close-up shots of the individual characters were used at points when each character showed their vulnerability and accepted their fate. Charlie played nervously with his glove, leaving his right hand the only part of him uncovered and exposed.  Their conversation was simple and emotional. Both men sat calmly, without making any aggressive physical moves toward the other. The bright lights of the passing car headlights highlighted the emotion and uneasiness on their faces, fading in and out of the darkness. All of these elements combined made this scene perfection.

The mise-en-scène Elia Kazan employed in On the Waterfront was film-making at its best. His choice of set location, camera shots, lighting, editing, acting and score were brilliant. It is no wonder that this film is regarded as one of the great ones of American cinema.

On the Waterfront – Swathi Satty

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One of Elia Kazan’s movie greats is On the Waterfront, which accounts for each individual character as much as it does the scenery. The movie takes place on the docks of Hoboken, New Jersey and the concept of it being a poverty stricken neighborhood was projected from the beginning; breaths of the characters are visible which shows that its winter and this enhances the severity of their economic burden by having the characters work in almost unbearable weather conditions. Kazan intends to make the story as believable as possible so he uses certain camera techniques to get the audience more involved. There are scenes in which the camera is moving with the characters. That way, the audience feels like they are part of an intimate conversation and it allows the audience to pay more attention to the detail of the conversation. The intimate car scene at the end of the film is literally the most significant part of the entire movie. Kazan was very specific as to not make the camera so jumpy because that would distract the audience. Instead, he tunes out the neighborhood; nothing is more important than what Terry and his brother have to say. The only way to pull the audience into realizing that the scene is still in a car is by mentioning the destination and getting the taxi driver involved.

The clothing was also significant because of its “average Joe” look.  Kazan had the costume designer buy all the material from a thrift store to make the apparel look as fitting and believable as possible because his main concern was a proper delivery of Terry’s fragile financial and mental state. One of the most strategic uses of camera angles is at the end when the camera amplifies the haziness Terry was feeling after being heavily beaten. It gives an incentive for the audience to support Terry because having his perspective makes the audience feel like they are struggling to get back on to their feet as well. The music also adds to the struggle and determination he feels. This proves very successful in the audience’s full support of Terry because previously none of his coworkers supported him. Kazan also used long shots to bring Hoboken into perspective; this is all for the audience since he wants us to create our own opinion of the neighborhood and feel sympathy towards the main character who is a foil to the selfish mobsters.

The dialogue is just as significant because sticking to the colloquial slang of that time makes the story more believable because it shows the true power of the mob that killed Joey. A great example of this would be use of “canary” which is often used to refer to someone who can’t keep their mouth shut. This metaphor shows that the mob had enough of Joey’s loud mouth and figured that the best way out of the situation is to kill him; this once again shows that the mob gets whatever they want and they find something as heavy as murder, easy and most beneficial. They also use the term canary to mock how pathetic they truly find Joey; he’s able to open his mouth but can’t defend himself when he needs to which is what was meant by “he couldn’t fly.” The cheese-eater comment helps the audience get a grasp on who Terry really is. While he physically seems like a tough guy, he’s a guy who is vulnerable and has his own morals; cheese-eater refers to someone who isn’t a snitch. This definitely highlights that Terry is sensible and is not one to step on anyone’s toes, which gives the audience another reason to pity him and want the best for him. The dialogue is very colloquial which sets the mood of the poverty stricken neighborhood. These terms would certainly not be used in a wealthy neighborhood, which again allows the audience to feel sorrow for Terry and support his character development.

The presence and mention of pigeons, play a significant role because in the chaos of Terry’s life, the pigeons are the only entity that have never ceased to give him pleasure. Him sharing the pigeons with Edie shows his soft side because she must mean a lot to him if he’s willing to show her Joey’s prized possession. The line “A pigeon for a pigeon” is interesting because it starts to show the downfall in Terry’s life. The pigeons are a symbol of Terry’s vitality and once they are dead, so was his rising faith in finally feeling loved by Edie and making it in Hoboken. A pigeon for a pigeon could be used to show that one downfall lead to another and Terry is placed in a situation where he is the only one capable of picking himself up again.

The taxi scene shows Terry’s disappointment in his life. After getting in a deep discussion with Charley, he says “I coulda been a contender” had it not been for the fixed fight. This is when Charley realizes he cost his brother a prosperous life and he finally becomes the brother he failed to be by giving Terry his gun; as a brother he is finally letting his brother defend himself.  The close ups were used on purpose because the audience gets a a good visual on how the characters are feeling. The expression on Charley’s face softens when he realizes the toll the fight has taken on Terry. This is not only a revelation for Charley but one for Terry who realizes that Charley just sacrificed his own life for his good after he saw how brutally Friendly had killed Charley. As a way to repay his brother, Terry got up after being heavily beaten and goes back to work, which is the first of him heading in the right direction and taking the power away from Friendly, who is also walked over by the other workers. That discussion in the car highlights Terry’s dismay in himself and shows that underneath the tough exterior is insecurity. This epiphany, leads him into an emotional healing process even if he is physically abused. He teaches the other workers but more importantly to himself that he can have control over his own life even if the mob had physical taken control over his own.

Under the distress of losing his brother in the hands of Friendly, Terry goes to murder him with the gun Charley gave to him. But Father Barry intervenes and stops Terry. This is when Father Barry gets him a drink. Alcohol does normally help relax people but in this case, its used to bring Terry to his senses. He knows that killing Friendly is not the most effective way to get back at him because it brings him down to Friendly’s level. After gaining a new perspective, he uses words and fists to fight back at Friendly. This eventually leads to the great finale of it all, which is when Terry uses his inner strength to fight Friendly. The alcohol represents the change in Terry’s though process for his own good against Friendly.

Kazan effectively shows character development throughout this film by incorporating the audience into the life of Terry. His neighborhood doesn’t benefit him in anyway and that’s made clear by the financial struggle that everybody is going through. But regardless of his physical state of being, Terry was able to break through and become emotionally strong which is what he really needed to do to break away from Friendly who once thought of him as a pathetic individual who couldn’t even read. By allowing the audience into the mind of Terry, we can also feel the growth that Terry’s gone through.

 

Stephanie Solanki, On the Waterfront

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On the Waterfront is a brilliant film by Elia Kazan about the mob-like union leaders and their hold on dockworkers in the 1950s. He used many different artistic mediums to portray the message of his film. The mise-en-scene, dialogue, and symbols all contributed to the unique and profound quality of the movie. Each artistic device told a specific part of the story or quality of a character. This is why this film by Elia Kazan is an iconic masterpiece of modern American film.

In order to truly capture the spirit of the story’s setting and to add authenticity, Elia Kazan decided to film the entire movie in Hoboken, New Jersey, with New York City in the background. Many long shots at the docks showed cargo ships passing in the river and people bustling in the streets. This allowed the audience to fully understand the lives of the characters and the world they lived in. Another example is the use of a dolly shot when Edie and Terry were walking in the park. This camera angle followed the characters as they were trying to get to know each other. It showed movement in their relationship as they journeyed to the same destination together.

Another aspect of mise-en-scene that Kazan used brilliantly is lighting. When Terry called out to Joey in the beginning of the film, the streetlights casted shadows across his face because this act was to be kept hidden, or “in the dark.” Secondly, Edie always appeared to be very bright, glowing, and angelic. This showed that she had high standards of morality, and that her character was someone who was completely good in the film. The lighting was used to show good and evil in this film.

The score of the film was used to heighten suspense and display the characters’ emotions. An example is when Terry went to see Edie in her apartment after his taxi ride with Charlie. The boisterous, clashing instruments paralleled the characters’ clashing emotions. It then cut out abruptly when Terry kissed Edie. This kiss was a surprise to Edie, just like the abrupt stop of music was a surprise to the audience. This emotion was displayed through the music in a way that words could not. Nevertheless, words did play a very different but important role in this film.

The 1950s style dialogue added to the realism and authenticity of the movie. The language allowed the audience to understand the social classes of the characters. Many of the slang words in the movie were also codes that the mob-like union leaders used to conceal their agendas. For example, when K. O. Dugan was going to report the mob’s agenda to the police, they decided to kill him for not being D&D. This coded for “deaf and dumb.” The dockworkers refused to tell the police about the union leaders’ corruption for fear of never finding work again. The union leaders forced the workers to live by the D&D code just to survive.

Another slang word that was often used by the mob was “cheese-eater,” a word that coded for a rat or a snitch. Anyone who revealed the mob’s plans was considered a cheese-eater and was to be killed. Once the person had revealed the mob’s plans, his life had lost its value and he was considered a pest. The mob leaders needed to exterminate him before he confessed more secrets. To the leaders, the dockworkers were mere animals.

The mob also used the word “pigeon” to describe those who told the police about their corruption. When Terry was going to tell the police about Johnny Friendly’s corruption, the mob murdered Terry’s pigeons. Tommy, the little boy said “a pigeon for a pigeon,” as he held out a lifeless pigeon to Terry. Terry’s life was worth nothing anymore; he was only a threat to the union leaders. Just as they brutally murdered the pigeons, they planned to murder Terry.

The pigeons paralleled Terry in other ways as well. He found peace in his pigeons. He would go to the rooftop where he kept his pigeon coop to escape from the harsh world down below. He said the following to Edie: “Pigeons are a lot like people. They’re faithful and loyal.” He related with pigeons, which are helpless and defenseless birds. Terry had been bound to the mob from a very young age, and he was powerless with and without them. “This city is full of hawks,” he said. “They hang around on top of the big hotels, and when they spot a pigeon, they come in and take ‘em out.” Terry felt dependent on the mob for survival. He wanted to get out of this corrupt lifestyle, but he was tied so tightly that he couldn’t escape. They locked him up in a cage just like the pigeons were caged in the coop.

Terry told Charlie how he felt about his ties with the mob in the taxi ride. For the first time in the film, he was not defending or mitigating their corrupt tactics. He confessed that he felt victimized by them. The bright lighting on his face was used to show that he was completely honest about his frustration with the mob leaders and the binds they had on his life. He was not holding any secrets back from his brother. By saying that he “coulda had class,” he admitted that he believed that they ruined his chances of his having a wholesome and successful life. The camera zoomed in into Terry’s face to show his emotions. He was regretful, hurt, and disappointed in his brother. He felt betrayed by the one person whom he thought would always be “in his corner.”

The taxicab was shaking and rattling throughout the scene. The camera followed the bumps on the road to show that the brothers had a shaky relationship. They no longer trusted each other. Charlie felt betrayed by Terry because was going to confess to the police. Also, Terry told Charlie that he should have “looked out for [him] a little bit” when he was a wrestler. Terry felt betrayed by Charlie because he felt that Charlie was prioritizing the union leaders’ interests over his own brother’s. Terry had then realized his brother’s feelings towards him.

A symbol of realization and maturity in the film was alcohol. The alcohol in the film was beer and whiskey, which reflected the social standings of the characters. Terry, who drank beer often, bought Edie a beer on their first date. Edie once lived a sheltered life, but learned about the cruel nature of life when she got involved with Terry. The beer symbolized her transition from innocence to maturity. Terry also matured when he witnessed the death of K. O. Dugan. The mob killed him by dropping cases of whiskey on him. Terry finally realized how corrupt the union was. Lastly, the Father gave Terry a beer when he agreed to confess about Johnny Friendly. Killing him would have been revengeful, but to truly hurt Johnny Friendly Terry had to be mature and confess. Terry had matured in his dealings with the mob-like union leaders

On the Waterfront is filled with artistic details that deepen the significance and message of the work. The dialogue made the story unique, while the lighting, music, and camera angles displayed the aspects of the story in a way that words could not. Symbols were used to show the message of them film in a subtle, but profound, way. Elia Kazan brilliantly used many artistic mediums to tell the meaning of his the film.

 

 

 

 

On the Waterfront: 12/9/12

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On the Waterfront is a 1954 film directed by Elia Kazan, famous for its underlying message and its costume, cinematography, music, and mise-en-scène. These cinematic techniques help to show that the film was not only for enjoyment, but was Kazan’s portrayal of the political and social climate of the 1950’s.

There are several cinematic techniques that stand out in the film. The costume design accurately depicts the low economic class of the 1950’s. One costume that was particularly prominent was Terry’s checkered coat. It seems his checkered coat is a symbol for his confused and conflicted personality, always considering right vs. wrong and good vs. evil. When considering framing of images, Terry was frequently left alone in the shot. For example, at the beginning, after Joey has been killed, Terry is standing with Charlie and two of Johnny Friendly’s henchmen. After they finish talking, Charlie and the other two men leave the frame and we see only Terry. In addition, as Terry walks away after the bar scene where Johnny Friendly gives him money, he is enclosed by a fog, suggesting the uncertainty of his character. Both instances occur at various points in the movie; this suggests that Terry tries to be an individual because he is always yearning to do the right thing, unlike the others.

The movie attempts to truly mimic 1950’s American society. Kazan included dialogue with heavy slang and the constant portrayal of alcohol, particularly whiskey. The slang includes various ethnic slurs and animal references, often combined to create one phrase. For example, the men often use “cheese-eater” and “potato-eater,” which respectively mean a “rat” or “tattletale” and “an Irish immigrant.” It is ironic that they make fun of the Irish immigrants, seeing as they make their livelihood boxing and sending Irish whiskey. A “cheese-eater” is often used interchangeably with “pigeon” or “canary,” when the workers are referring to one of their own who has gone and ratted them out to the police. There is significance to the bird references; birds exist in flocks, in groups, like the dockworkers. However, if one flies away from the group, or turns its (his) back, it likely will not survive on its (his) own. Finally, the priest uses slang terms such as “gravy train rider” and “turnaround collar” in reference to himself. What he means by these terms is that they all think he’ll preach about change, but he will not get involved, because he lives a luxurious lifestyle. In reality, he tries to tell them he will stand alongside them and is willing to help them however he can. In addition to the use of slang, one of the other defining characteristics of the group is the use of alcohol, especially whiskey. Alcohol is the source of their livelihood and income; and, most of the men are Irish Catholics, known for their drinking habits. Whiskey also serves as a way to help people calm down. In the bar, after Joey’s death, Johnny hands Terry money and says, “Here kid, here’s half a bill, go get your load on.” Then, we see Terry and the priest, a religious figure, drinking whiskey in the bar after Charlie has been killed. It isn’t just “drinking away the sorrows”; it is a way for the group to protect their identity and to help them come to terms with their actions.

The most famous scene of the movie occurs in the backseat of the taxi, during a conversation between Charlie and Terry. The scene is intense, as Charlie tries to decide whether to follow through on his order to kill Terry. The music seems to take on a life of its own, narrating the dialogue even without the use of the actors’ words; it is a mournful piece, as if to signify the death of the relationship the two brothers once had. Terry finally confronts and voices his feelings that he is not entirely pleased with what Charlie did to him or for him. Charlie turned Terry from a “somebody” to a “nobody.” The dialogue is full of regret and honesty; it shows Terry finally coming to terms with his own thoughts and who he is. The camera employs the use of close up in this scene, enabling the viewer to see the pain and hurt on both Charlie and Terry’s faces. Kazan also depicts both Charlie and Terry sitting slouched over, as if to signify defeat, but a different defeat for each man; Terry for resigning to live an unhappy life and Charlie for not doing right by his brother. Terry says, “I coulda been a contender,” meaning that he had opportunities ahead of him. This quote has been used by writers for characters in other films with similar situations. The dialogue helps Charlie to finally understand Terry’s point of view and character; it is this confession that leads Charlie to understand why Terry is finally telling the truth about the union bosses.

The main character represents the archetypal hero – an ordinary man with the ability to inspire change. He is a leader, who set forth to overcome the difficulties of his situation and succeeded, changing the fate of his life and the lives of his friends.

Wednesday 11/28 – Andrew

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In class this Wednesday we were visited by Professor Diaz, a film professor at CSI. She gave a lecture about cinematography which briefly covered a broad spectrum of things related to film making. Her lecture and powerpoint were chock full of a lot of information that was new to me. I’ve never really studied the mechanics behind film making, and I have to say, it’s incredible how much careful thought and hard work go into a film. Its hard to believe that nearly every decision involved in the movie making process all lands on the director. Seems like a very stressful job.

Some things I found interesting about film making included the screen ratio in which the movie is filmed, for instance Manhattan is filmed in a wide format, to help accentuate and bring the long New York skyline to life. Camera angles and distance is also very important. They both help to shape the scene by changing the way we perceive what is on screen. If a director shoots a character looking up to them, the audience may see that character as a mighty, powerful being who towers over them. The lighting is essential to any film, as it can change the emotions felt by the audience entirely, at certain times. It may also symbolize underlying feelings, problems, or anything that is not directly stated. In Manhattan, we see Isaac’s very dark apartment with Tracy sitting on the couch with the only source of light on her. This can symbolize how she is the only beacon of love, happiness, and light in Isaac’s life. This was just one of the clever insights pointed out to us by Professor Diaz. She also made us aware of all the objects in the background of the movie that “separate” Isaac from people like his ex-wife and Mary as their relationship quickly crumbles. The professor gave me some interesting new tools to use when watching movies to more deeply immerse myself in the story, and possibly discover what the director wanted the audience to notice.

11/28

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During Wednesday’s seminar class, we were privileged to have Professor Diaz speak to us about film and all the effort that is invested in movie-making.  I have been told in my previous schools that movies are a waste of time and distracting, and so I found it interesting to see that movies can be a form of art in many ways.  Just like artists have a reason behind every brush stroke, and a poem contains meaning beneath every word, there can be a deeper significance behind the different aspects of a movie that contribute to its meaning.

Firstly, the use of black and white, or color quality, is often symbolic.  In The Wizard of Oz, Dorothy leaves the drab black-and -white Kansas to enter the vibrant, colorful Oz.  Another example of this can be the older version of The Secret Garden; when I was forced to watch this with my grandmother, I noticed that most of the movie was filmed in black and white, but Mary’s garden was colorful.  This clever technique makes the garden seem special and exotic.  The movie Manhattan was also filmed in black and white.  When I first saw the movie, I thought that the use of black and white made the city seem grand.  It is said that people often dream in black and white, and so the lack of color gives New York a dream-like quality.  However, in class we spoke about how color can be distracting and so the use of black and white got the point of the movie  across more effectively.

Furthermore, the zoom of the lens contributes to the emotions  and feeling of the film.  Long shots were used to show where the characters are, and there was a medium zoom when the characters were having an intimate dinner.  During emotional parts of the movie, the camera shoots close up.  This allows the audience to connect to the character’s feelings and witness his facial expressions.  When Isaac broke up with Tracy, the cameras zoom in on her face so we are able to focus on her pain exclusively.

I hope that I will be able to use the information that we discussed in class to analyze the movies that I will watch in the future.  I realize that movies do not have to be a waste of time, and can be considered art, just like any painting or poem.

November 28th, 2012

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On Wednesday in class, Professor Diaz came and discussed different film techniques and how they were used in the movie “Manhattan”.  The idea of diegetic and non-diegetic sound was very interesting to me because very often I find myself paying close attention to the soundtrack of a film that I am watching.  In the movie “Remember the Titans” the final football game has an orchestral score by Trevor Rabin which I fell in love with after seeing the film.  I found it interesting how film had to completely change to accommodate the introduction of sound to moving picture.  This issue was directly addressed in the musical “Singing in the Rain” staring Gene Kelly and Debbie Reynolds.  My two favorite parts of this film deal with the issues that arose as the film industry moved away from silent films.  The first scene, was when they show the film for the first time.  They quickly realized that actors who are accustomed to working in Silent films may not be able to make the transition to movies with sound. Singing in the Rain.  My second favorite scene in this musical is at the end when they reveal that Lina Lamont isn’t really singing her songs, and that Kathy is the true star of the film. Sining in the Rain.  When I first saw this movie I didn’t understand that the problems which they were dealing with, were very common issues which came with advances in film.  It was interesting to see the technical side of the movies which I know and love.  I think that it is interesting how directors can use little things like the angle of the camera to control the emotion which the audience feels.

James Baldassano November 28th, 2012

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In our seminar session on Wednesday, we had our final guest speaker of the semester. We were paid a visit by Professor Diaz, a film and cinema professor. We were given a lot of information on the production of movies. There were any interesting things she taught us!

One thing that I really found interesting was that the films are actually a series of photos all edited into a sort of flipbook motion, which creates the appearance of a video. They go at a rate of 24 frames per second, or a frame every 4.17 milliseconds. Now when I watch movies, I’m going to try and focus on that, even though it is probably untraceable to the naked human eye.

We also learned about different aspects of the frame itself. There were different angles and different levels of how close or far the camera shoots. It creates a different atmosphere or opinion of the viewer. It could make the viewer feel like a part of a conversation as another character, or a sky view, to create a different feel.

The lighting also has a major impact on a scene. Dim lighting could imply the focus is supposed to be on the dialogue, while brighter lighting could imply that the scenery is meant to be the focal point of the viewer’s attention.

One final aspect I will talk about is the music portion of movies. Background music is a vital essence to the emotional appeal, or to the focal point. Silent background music could make you focus on the dialogue (like dim lighting) while emotional music could augment the feelings radiated from a scene.

All in all, there were many things I learned from this guest appearance. I had never realized how much had gone into the making of a film, how every little aspect of a film, was meant to be the way it is.

Wednesday- Cinema

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In Wednesday’s seminar class, we had a guest professor speak to us about everything there is to know about cinema. We had already learned what miss-en-scene was in a previous class, and I was eager to follow up on learning all about what goes into producing a movie. Honestly, before the lecture, I couldn’t think of much more that went into making a movie besides the actors and the storyline. The most important aspects of the film can go largely unnoticed if you don’t pay attention to them, but if they weren’t there, the movie wouldn’t be the same.

First, we spoke about aspect ratio, which is basically the size of the shot. Woody Allen chose to film in a wide (cinema) aspect ratio to emphasize long panoramic shots, such as the opening scene where Isaac is giving his monologue while we get a beautiful view of the Manhattan skyline that sets the scene for the rest of the movie. Different sized shots are used for different purposes. For example, a long shot would be used to place accent on someone’s entire body, or rather to not place specific accent on anything. Conversely, a close up shot would place very specific attention to a person’s facial expression.

Lighting is also a big part of making a movie, as it sets what I call the “silent mood” of the film. This is how we feel when we watch the movie, whether it be anxious, comfortable, or even sad. This is not set by dialogue, but by the lighting of the shot. If a horror movie had soft lighting and no contrast, it wouldn’t make us feel anxious at all; we could be watching a romantic comedy for all we knew. What distinguishes something like a horror movie from something else is the fact that we feel anxious and scared, even when a character is just walking down a hallway. High contrast and lots of shadows puts focus on the main character, or the demon/killer, while shadows let our imagination run wild.

Music also greatly affects the feeling of a film a way in which dialogue can’t. Picture the cliché scene in a horror movie where the character is walking towards the door to see what lies on the other side. Now, usually when we walk towards any door in our house, our heart is not beating with anticipation and suspense. Ominous, non-diegetic music in the film, that rises in volume as the person gets closer, makes us feel suspense and fear, while diegetic screams in the distance, or an out of tune piano being played, complete the feeling.

There are countless other things we spoke about on Wednesday, and I was really impressed by how much I didn’t realize went in to making a film.

Corinna 11-28-12

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On Wednesday we had a guest speaker come in to talk to us about mise-en-scene and its use in Manhattan.  Professor Diaz seemed to have covered everything. She was prepared, and had a number of examples to help make her points clear.  One example that I enjoyed looking at was how characters would appear under certain light, which included key light, fill light, and back light.  I would have never known how different the characters appeared under each light without being presented with visuals. I also thought it was a good idea to make examples out of other films besides Manhattan.  When Professor Diaz was talking about canted angles being used when things are getting rough for the characters in the scene, Inception seemed like the perfect example.  This lecture really did help me better understand mise-en-scene and its importance in cinema. I never realized how much thought needed to go into the making of a film, and how much every decision, like which light to use, mattered.

Although I’d have to admit that many of the aspects we went over were not of much interest to me, there were certain ones that I was genuinely interested in.  Discussing different types of lenses was my favorite part of Wednesday’s seminar class.  I myself have a DSLR camera, and really enjoy taking and looking at pictures.  I have actually been looking for a new lense to add to my collection, so I knew a little bit about what the professor was talking about.  She added a few details about certain lenses that I was less familiar with, which I loved hearing about.

Overall, I found this class to be very informative and I feel as though next time I watch a movie I will know exactly what to look for and therefore get more out of the film.