Submit a 1-2 page reflection on how directors and cinematographers shape meaning in film using cinematography.? You have a choice: Spike Lee’s School Daze (1
Submit a 1-2 page reflection on how directors and cinematographers shape meaning in film using cinematography. You have a choice: Spike Lee's School Daze (1987). Then analyze how cinematography works in TWO scenes.
The following question should help frame your response:
- What shots and angles do directors and their cinematographers choose and why?
Double space every assignment.
Treat reflections as analysis. DO not write a review of these films, therefore do not share how these films impressed you; don't refer to the "gorgeous cinematography" or "incredible acting."
Avoid a casual, chatty, gossipy tone. Do not use "I" or "you." Do not use terms like "personally," "I think," "I feel."
Use sharp topic sentences to start your paragraphs.
SAMPLES OF OTHERS AND RESOURCES ARE ATTACHED (DO NOT QUOTE)
FILM LINK: https://pluto.tv/us/on-demand/movies/5b3b10aac59f01f16f48144f?utm_medium=textsearch&utm_source=google
Movie Reflection Assignment 1
Department of Communication: Florida International University
COM 2417: Communication in Film
Professor Alfredo Soto
June 24, 2022
Abstract
Psycho director Alfred Hitchcock and cinematographer John L. Russel employ varying camera techniques and lighting choices to highlight the internal and external struggles of the cast of characters; primarily that of Marion Crane and Norman Bates. The camera movements and positions are changed as the suspense of the story begins to grow. According to Prince, the closeup shots done by Hitchcock and Russel “clarify…the personal emotional space of the character[s]” (Prince, 2014, pg. 11). Shifts in lighting reveal the true killer of the story before showcased in dialogue as well as accelerates the plot towards its climax (in which Arbogast begins to discover who the killer is).
Psycho director Alfred Hitchcock and cinematographer John L. Russel employ varying camera techniques and lighting choices to their advantage in creating a suspenseful tone towards making the film. Being a film noir, as defined by Prince to be “black-and-white cinematography”, the mechanics between the camera and the actors are imperative towards relaying the characters’ internal and external struggles (Prince, 2014, pg. 64).
The camera movements and positions are changed as the suspense of the story begins to grow. Following Marion Crane asking to leave work early, the scene changes to her dressing in her bedroom. The scene remains in a medium shot until she appears to look down at an item on her bed. Hitchcock then tilts (moves downward) the camera towards the bed and zooms in on the item: the $40,000 cash in which her boss asked her to put into the office bank account. The close-up of the envelope then pans towards the right to reveal that Marion is not changing into sleepwear, as she told her coworker she planned on sleeping away a headache, but rather packing a suitcase. The moving-camera shot , as explained by Prince, is entrusted towards revealing “dramatic information”, this being how Marion stole the money from her job (Prince, 2014, pg. 30). The “information” additionally extends towards the realization that she is planning on using the money to help her boyfriend, Sam, relieve his debt and run towards a happily ever after. The camera proceeds to alternate between tilting to mirror Marion’s movements in packing her luggage and closing in on the envelope of money lying on her bed. These changes only occurring when she locks eyes with the envelope. The camera following her eyesight solely when she catches a glimpse at the envelope creates the perspective that all she can think about are the contents that lie within. This establishes the internal struggle of the character, as she is indecisive about packing her bags and running away to be with the love of her life.
The lighting of the film, Psycho, remains relatively bright unless surrounding one particular character: Norman Bates. After the private investigator, Arbogast, inquires at various hotels about Marion Crane’s whereabouts, he drives up to the Bates Motel. He is met by Norman who is sitting in front of a dimly-lit office while Arbogast’s surroundings are brighter. As Bates invites him inside the office, the background lighting noticeably darkens. This could be used to foreshadow Arbogast becoming a victim in the killer’s den. The dialogue initially is a casual questioning about a potential customer; that is until Arbogast is revealed to have a sample of Marion’s handwriting as he reviews the check-in book. When the camera pans back to Norman, not only is there an apparent spotlight on him, but he is now in a low-angled closeup. As Prince states in Movies and Meaning, spotlight and low-angle are meant to articulate “the seriousness and drama of this moment” (Prince, 2014, pg. 15). To add on, the closeup in which Norman is nervously chewing candy is meant to bring forth the emotion of the character, in this case being anxiousness. This emotion transforms the more casual questioning into an interrogation. The lighting and various camera techniques progress towards creating an overall suspenseful tone as well as Norman’s distress in potentially being caught as Marion Crane’s murderer.
In various scene’s within the film, Psycho, camera movements, such as various tilts, pans, and closeups, emphasize the internal conflicts of both Marion Crane and Norman Bates. The lighting as well is meant to showcase who the true killer is revealed to be: Norman Bates himself. Ultimately, these techniques work together to showcase the various emotionally distressing moments within the killer and those seeking justice.
References
Prince, S. (2014). Movies and Meaning: An Introduction to Film. Harlow, Essex: Pearson.
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COM 3417 Communication in Film Abstract Checklist
Abstract
Have I mentioned the director and film under review?
Have I avoided summarizing the film?
After reading my abstract, will a reader have an idea of what my reflection will argue?
Body
Does my introduction set up the reflection?
Have I avoided summarizing the film?
Have I written strong topic sentences that announce to readers what the paragraph will argue?
Have I avoided first-person (I, we), second-person (you), and references to “the audience” and “the viewer”?
Have I omitted evaluations of the film? Have I cut adjectives like “extraordinary” and “beautiful” and descriptions like “masterpiece”?
Would a reader have an idea about the scene I refer to after I describe and analyze it?
Do I refer to the PowerPoints and secondary essays when necessary?
Have I capitalized proper names and nouns?
Have I italicized film titles?
Have I proofread for spelling mistakes?
Have I written a conclusion?
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Tampopo Reflection Assignment 1
Reflection Assignment on Tampopo by Juzo Itami
Emily Rodriguez Moreno
Professor: Alfred Soto
September 8, 2023
Florida International University
Abstract
Tampopo, directed by Juzo Itami and cinematographed by Masaki Tamura, uses different angle choices to accentuate the character’s emotions and complement the unstated words of Tampopo and Goro throughout the film. The lighting change suggests an evolution in the characters and their relationship. The use of subdued colors in most scenes, with just a wisp of color coming from the meats and vegetables, highlights the food as the common thread of the film and what unites the characters. From medium to close-up shots, Itami emphasizes and intensifies the character’s thoughts and feelings.
In Tampopo, director Juzo Itami and cinematographer Masaki Tamura use high camera angles and lighting to convey the character’s emotions and complement the unstated words of Tampopo and Goro. When Tampopo wakes up from a nightmare about not having the ramen ready for the customers she invited over the night before during an argument, the camera is positioned at a high angle. This angle choice shows Tampopo as “powerless and trapped” (Giannetti, 2017, p.12). High angles tend to show the ground; in this scene, the viewer can see the counter full of food, dirty and disorganized, suggesting that that’s how the character feels during her journey to discover the best ramen. During the same scene, the angle changes from high to eye-level shots when Tampopo reunites with Goro. A high angle conveys the “character’s self-contempt” (Giannetti, 2017, p.13). Tampopo’s self-destructive thoughts leave her once she sees Goro; even though not stated, the transition from high to eye-level shots shows Goro as Tampopo’s leader and the person she trusts to master the art of cooking ramen. Lighting choices provoke a similar understanding of this scene in the viewer. The available light in Tampopo’s kitchen is scarce; as she walks outside, more light is available, accompanying Goro’s entrance into the scene.
Itami uses long shots, lighting, and colors that indicate an evolution in the characters and their relationship, highlighting the discovery of Tampopo’s new ramen recipe. When Tampopo opens her restaurant, the lighting and colors differ from the rest of the film. The transition from subdued colors to more vibrant colors highlights the end of Tampopo’s journey to find the perfect ramen recipe. A long shot of Tampopo placed in the center of the kitchen and lights focused on the new counter make the viewer feel invited to try Tampopo’s unique recipe. The natural light used in this scene creates a warm environment, where it is noticed that the characters have overcome the differences between them due to a shared passion for culinary art. In addition, close-up shots and static camera position put emphasis in the character’s facial expressions.
Through high angles, long and close-up shots, lightning, and colors, Juzo Itami and Masaki Tamura make the audience understand and interpret the thoughts within the characters. During Tampopo and Goro’s farewell, close-up shots focus the viewer’s attention on the character’s emotions, making the viewer forget the chaos of the restaurant. The final long shot of Goro driving away from the town brings closure to the film and lets the audience know that his task of helping Tampopo discover the best ramen recipe has been accomplished.
References
Giannetti, L. (2017). Understanding Movies (14th ed.). Pearson Education (US). https://reader2.yuzu.com/books/9780134002521
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