As part of our film, we need to include 4 Elements. These are:
- "Use of colour as a narrative and symbolic element"
- "Lighting change as a narrative device - at least two examples (Interior and Exterior)"
- "A Sequence Shot"
- "A point-of-view sequence which privileges the 'none-active' viewer"
In todays session, we covered two of the elements needed for our film: Point of view and a Sequence shot:
The Long Take
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| 1. |
The long take often demonstrates a realistic quality to film, especially if there is natural lighting and a lack of score. I think it can go one of two ways, either engross the audience into the film or assist them to lose interest, depending on how well it is done. A good example of the use of long take within film would be in Michael Haneke's 'Hidden', Gus Van Sant's 'Elephant', much of Béla Tarr's work and especially 'Russian Ark' by Aleksandr Sokurov which is shot in one continuous take.
In todays session, we watched some of these examples. The scene we were shown from 'Elephant', demonstrated a minimalist opening shot that was evidently taken using a steadicam. It was relatively unsettling as the audience is unable to identify whom the protagonist is.
From watching this extract, we established that there can be many technical problems when filming a long take. Particularly, if the scene includes a tracking shot of the camera going from indoors to outdoors, as the only one aperture can be used. Therefore, in 'Elephant', there was an example where this caused quite a bright glare in the lens from the light outside.
Another problem with using long take is that there is often only enough budget to do the take so many times, therefore putting a lot of pressure on the cast and crew. If the choice of the final shot is either one with technical issue or bad performance from the actor, the performance is usually more important.
The scene we were shown from 'Elephant', demonstrated a minimalist opening shot that was evidently taken using a stedicam. It was relatively unsettling as the audience is unable to identify whom the protagonist is.
Point-of-View
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| 2. |
Point-of-view in film can be portrayed in three different ways. These are:
- First person - Where the audience "see events through the eyes of a character"3. The issue of this is that we do not see their actions or facial expressions to provide us with their reaction - Speech is the only indicator.
- Third Person - "Presents the action as seen by an ideal observer". 3.
- Omniscient - To establish this point of view, narration or voice over is often needed.
An example of Point-of-View that we were shown in the session, was in Alfred Hitchcock's 'Vertigo'. Within the restaurant scene, we see Scottie as he follows Madeline. Both direct and indirect Point-of-View is displayed in the various shots. It allows the audience to wonder whether Scottie is watching her or not, particularly where his eyes turn away when she looks at him, although we still see her.
Here is a list of the shots used within this scene:
Here is a list of the shots used within this scene:
- Establishing Shot of restaurant
- Mid/Long shot of Scottie looking at Madeline
- Scottie's Point-of-View looking at Madeline
- Shot 2 Repeated
- Shot 3 Repeated
- Shot 2 Repeated - But instead a Mid Shot of Scottie glancing down/looking away
- Tracking shot of Madeline walking towards Scottie and stopping behind him
- Close-Up of Scottie glancing up at Madeline
- Point-of-View of Scottie/Mid Shot of girl
- Shot 7 Repeated - But this time Scottie is looking away
- Shot 8 Repeated - But a Close-Up
- Close up of Scottie following Madeline with his eyes
- Scottie's Point-of-View of Madeline walking away
- Shot 11 Repeated
This Point-of-View sequence has given us a lot of ideas for our own film. I particularly liked the over the shoulder shots in this sequence and think that this element will fit in well in our piece.
I plan to use aspects of the films watched in this session to influence my film. I have learnt a lot about how to film a long take well and how important it is to set the aperture right. The element of Point-of-View has also taught me features that I didn't know, especially that there were three different types. I would like to explore all of these within my film and then use the one that I think works best.
References
1. http://www.google.com/imgres?q=elephant+gus+van+sant&hl=en&client=safari&sa=X&tbo=d&rls=en&biw=1280&bih=680&tbm=isch&tbnid=7KlFKVcwTBKzoM:&imgrefurl=http://www.diagonalthoughts.com/%3Fp%3D1194&docid=71CyklOWwbTO4M&imgurl=http://www.diagonalthoughts.com/wp-content/uploads/2010/08/elephant-van-sant.jpg&w=400&h=226&ei=juqaUPa5JImy0QXq7YDQDA&zoom=1&iact=rc&dur=294&sig=117828630293561111691&page=1&tbnh=141&tbnw=229&start=0&ndsp=18&ved=1t:429,r:11,s:0,i:121&tx=74&ty=96
2. http://www.google.com/imgres?q=vertigo+hitchcock+restaurant&um=1&hl=en&client=safari&tbo=d&rls=en&authuser=0&biw=1280&bih=680&tbm=isch&tbnid=mwQssSBNwwtV8M:&imgrefurl=http://buddypuddle.blogspot.com/2010/04/vertigo-1958.html&docid=fo2jpkBtbtvynM&imgurl=https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhC8ga2uSYoKYAZ-nWzzO6WwNCOtRmiA06xZ6lG5MD6UHBqKiWYbBfNSOH4gA0o3wln5qZoWU9nTroQ0J6apvWnTjZmOcB_h3tio0E3AARt5m50kMru_nXZOSwIi8WfBMtGXryjqsFJrNFf/s1600/vertigo11.jpg&w=900&h=608&ei=huuaUPfeG8HK0QXYi4CYDw&zoom=1&iact=rc&dur=593&sig=117828630293561111691&page=1&tbnh=136&tbnw=221&start=0&ndsp=22&ved=1t:429,r:2,s:0,i:77&tx=130&ty=104
3. Katz, Steven D (1991) Film Directing Shot by Shot visualising from Concept to Screen Focal Press p.267
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