Online Research Presentation
Composition
The written words from the script can be enhanced and visually represented by the composition of a cinematic/photographic shot. (UTS 2008, 1) How it is framed and what elements are being manipulated help to add layers of meaning which may be used to evoke emotion and platform connotations.
A good quality frame embodies a subject with the application of the Rule of Thirds - this classic rule suggests that the centre of the camera’s attention is one-third of the way down from the top of the shot. With the exception of titles, composition should not be perfectly symmetrical, but should rather balance the filled and empty space.
When framing people by placing someone too high or too low in the frame, the individual can be made to seem taller or shorter than s/he actually is. (Smith 2006) This can be used to project a sense of narrative furtherance. The audience is placed in a position where their perspective has been shifted so to match the character’s line of view. A character’s understanding of its surrounding and concurrently, the elements that may be used by the director are translated to the audience with this strategic framing technique. For example, two individuals may be standing. They are facing each other. One character is the protagonist – who for the sake of this example sits in the dominant position, whilst the other is the antagonist. Clever framing of the shot to actually represent the power relationship of the two can be achieved if the dominant persona is deliberately placed higher in the frame than the alternate character. This creates an illusion of differing heights, where one is significantly greater. Inherently, the audience interprets this visual imbalance from the awkward angle. An innate sense of unease, and subsequently nervousness, tension, discomfort is drawn from the audience if the shot has framed the full face of the antagonist, and contrarily, the exude of power, strength and fearlessness may be connoted if the protagonist is framed.
The expression of the dynamics of the relationship through purposeful compositions further complements the shot’s intended mood, especially when coupled with particular shadow and lighting which inarguably composes the nature of the shot. The audience is made to realise the subject’s wavelength of thought or their disposition. A cinematic example may be called upon from the film, ‘Blade Runner’.
In this film, shadow and/or lighting effectively cloaks lurking figures and shrouds protagonists in protective pockets of darkness. Lighting is crucial in the establishment of atmosphere and meaning within a scene. Besides the predominant use of shadows and silhouettes, there is also the jarring use of bright, stabbing shafts of neon lights and searchlights. It is often a means of creating impressions of size, importance and power.
Deckhard (Harrison Ford) is essentially the most illuminated element in this frame but is still concealed in the shadow to emit a sense of mystery and danger. The light reflects from his jacket and the gun, however the gun is blurred so the attention is drawn toward the character itself. The result of this reflection is an impression of a strong or important character. He is positioned in the centre of the screen and features as the largest element which furthers this notion.
The composition within a picture frame strives to depict the focus of the art piece (whether it be a photograph, film, etc). A director’s aim is to specify for the viewer a point of interest. This may be a frame which establishes the setting for the piece, from which future actions will take place (Media 2007). A frame may also be deliberately utilised to initiate/elaborate details of the character/subject – addressed familiarities of which will be what the audience will refer back to. A frame is presented with various manipulated camera angles. There is a basic sequence (Ilchenko 2004) that works effectively to establish an action, the subject’s significance to it or vice versa, and to build audience rapport. This sequence consists of long shots, medium shots and closeup shots.
Long shot
Medium shot
Close Up Shot
This simple example with a trolley as a subject has been visually introduced through 3 different camera angles. The first image, which is the long shot, shows the entire scene area where the action may take place. The audience is acquainted with this establishing shot, familiarising themselves with the overall appearance and location within the scene. The composition of a long shot gives room for the subject to move about – this action is then accentuated by the succeeding shots; immediately following is the medium shot. The medium shot narrows the centre of interest, this being the trolley in this situation, and develops more of the potential plot line by showing a clearer view of the physical appearance, or movements and in the case of live action films, the facial expressions of actors. The final close up shot fills a frame with the most vital part of a scene, ordinarily including only the action of primary interest. Details of the scene and significant incidences are highlighted through the close up shot, helping to vitalise the film’s setting and narrative simultaneously.
The composition of an image can evidently portray meaning for a film’s narrative, setting and mood. It is a strategic tool used to outline character nuances, relationships between subjects, significances of actions to the subject and/or it’s environment and to appeal to audience interest. Essentially the layout of an image, composition helps to explain to the audience what is IN a shot and HOW it’s presented so as to deliver the director’s intentions.of what a film is about.
Reference List
(Smith 1980 – 2006; Ilchenko 2003-2004; Media 2007; UTS 2008)
Ilchenko, E. (2003-2004). “Photo Composition Articles.” Retrieved 1-11-08, 2008, from http://photoinf.com/General/NAVY/Composition_and_Basic_shots_or_sequences.htm.
Media, W. (2007). “Framing.” Retrieved 31-10-08, 2008, from http://www.mediacollege.com/video/camera/tutorial/01-framing.html.
Smith, R. I. G. (1980 – 2006, 2006). “Composition and Camera Movement.” Retrieved 1-11-08, 2008, from http://www.tv-handbook.com/Composition%20and%20Camera%20Movement.html.
UTS (2008). MAP1 Assessment Guideline. Sydney: 1.
