Objective and Subjective Points Of View in Cinematography - "12 Years a Slave" (2013).

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Objective and Subjective Points Of View in Cinematography - "12 Years a Slave" (2013).

Cinematographic elements in "12 Years a Slave".

It is clear to see Steve McQueen's "12 Years a Slave" film is no short of providing excellent cinematography; but we know this particular film element isn't its main focus. The story, historical authenticity, dialogue, maybe equal to or more of an important feature but without use of good cinematography, the film may lessen its storytelling impact. Incorrect cinematography may confuse the audience into focusing on the wrong character or item during an important section in the story. For example, it would not be of most reasonable sense to not show the hero in the frames of the picture when he or she is about to defeat the villain in most films.

"The core of most films , cinematography in general and the shot specifically offer a remarkable range of options: from framing and depth through movement and color." (Corrigan and White 2012. p.105)

Objective and Subjective Point-Of-View:

Objective shot showing both characters talking to each other.

Subjective shot as it is an over-the-shoulder shot representing the perspective from the near character.

Although the line between the two terms may be blurred but most films do at some point capture shots that are quite easily distinguishable. First, an objective shot is not to be portrayed by a character in the film. It should almost be like a perspective of a random bystander viewing the scene. The latter is about viewing the picture from a character's perspective. The camera here can be shot over-the-shoulder, behind the character, or even in the character's shoes (point of view). This is to get a closer look at what the portraying character is looking at while objective shots are more for location and atmospheric awareness. As these are just only mere ideas of camera perspective, the distance of the shots can drastically change the effect of each perspective.

Close-up shot with shallow field of depth.

Medium shot to show other characters are behaving around the main character.

Close-up shot to see character's facial expression.

Long shot showing what the characters are working on.

Camera Distance and Field of Depth:

With the power of editing, film makers can shoot several different shots of the same scene to fully capture everything they need for atmospheric or story-telling purposes. From the pictures above, close-up shots can show character's emotion while long shots capture the surrounding area. Field of depth can also play an important role too. Blurring the background or the foreground or both can make the audience focus on things of significance rather than getting distracted by something else. With both camera distance and field of depth combined, films can visually direct the audiences' attention to better deliver story.

References:

Book: Corrigan, T,. P, White,. (2012). The Film Experience: An Introduction. Boston. Bedford/St.Martins.

Film: McQueen, S. (Director). (2013). 12 Years a Slave. [motion picture] USA: Regency Enterprises, River Road Entertainment, Plan B Entertainment, New Regency Pictures, Film4.

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Showing the Physical Space with Invisible Editing - Scenes from "Blade Runner (1982)"

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Showing the Physical Space with Invisible Editing - Scenes from "Blade Runner (1982)"

"In both narrative and non-narrative films, editing is a crucial strategy for ordering space and time. Two or more images can be linked to imply spatial and temporal relations to the viewer."
- (Corrigan and White, 2012, p.144)

In especially films such as "Blade Runner", it is important for the physical space of the film world to be accurately portrayed. With its futuristic looking metropolitan setting, the film clearly wants the feel of dense population and industrially busy atmosphere to be the key elements. Audience can expect to see as much of the action that revolves around the characters as well as viewing the world around such as the building landscapes to building interior. Here, continuity style of editing is needed to seamlessly achieve that while without interfering the story's pace and atmospheric mood.

Spaceship scene

Cuts to the cockpit view from inside.

Overview of Invisible Editing-

This refers to the seamless transition characteristics of multiple shots being weaved together one after the other. In effect, this should show the audience more of the actual scene than just being forced to see the action or character within a fixed frame.

180-Degree Rule:

This rule is typically used when two focal characters (maybe with dialogue) are being focused. The 120 degree part of the rule generally means the angle of which cameras are allowed to shoot as exposing more could change the viewing perspective and confuse viewers. If in a room, only half of the room will be shown using this rule.

"The rule  aims to emphasize the motivation for the cut by giving a substantially different view of the action" - (Corrigan and White, p.148).

Side view of character showing props in the room.

The camera does not show right of character of which would be behind previous picture's camera position.

In the shown pictures, the switching of different camera cuts does the job of showing more of what is surrounding the characters and size of the room they are in. As these angles are shown back and forth in the film we can also call this a "shot and reverse shot" as the frame moves from different character depending on who speaks.

Inserts:

Sometimes film makers want to use long camera shots to capture more of the background. This is to fit more physical space into the frame but it also consequentially limits the viewer to see any small objects or characters that holds equal significance to the background itself. Multiple shots may used to overcome the burden of long shots where "inserts" are use to put the small object or character into the full screen of the picture.

" The use of inserts helps overcome viewers' spatial separation from the action, pointing out details significant to the plot or underscoring versimilitude." (Corrigan and White p.146).

Medium-long shot showing the character "Decker" climbing up a bookshelf.

Decker's gun drops and the camera snaps to his gun landing on the ground.

The first picture shows the main character climbing to his freedom which then shortly after accidentally drops his gun. Inserts may not be crucial here but it prevents any confusion to the audience as what object had fallen from the character's jacket. It is important to note that inserts (especially in the previous picture) does not represent a point of interest view where point of interests are to be viewed from the character him or herself.

Switching to a point of interest shot.

References:

Book: Corrigan, T,. P, White,. (2012). The Film Experience: An Introduction. Boston. Bedford/St.Martins.

Film: Scott, R. (Director). (1982). Blade Runner. USA: The Ladd Company, Shaw Brothers, Warner Bros..

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Creation of the virtual world using diegetic sounds in "Rain Man (1988)"

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Creation of the virtual world using diegetic sounds in "Rain Man (1988)".

When someone walks around with hard bottom shoes inside a concrete filled floor of an empty warehouse, we would almost instantly recognise the origin of the sound, how the sound is made and when the sound was made. We could even distinguish this with our eyes closed. However in the filming world, this can all be conceived differently. Film makers must accurately piece the picture to the sound or vice versa in such a way that the film would simulate that very effect to the audience.

When talking about diegetic sounds, we are talking about sounds that exist in the world of the viewing film. These sounds could be expected to be heard by the characters in the film as opposed to background music or narrator dialogue, even if the characters themselves do not hear it. What makes certain actions within certain scenes feel real is probably due to this effect. Hearing without it would most likely bring about an entirely different viewing experience.

Dustin Hoffman as "Rain Man" watching TV with high volume while kids around him are crying from boredom. 

Although the film may not be famously known for its use of diegetic sounds, the film "Rain Man" does a good job of creating the virtual world for the viewers to experience as the sound is accurately portrayed from on and off-screen object sources. From the picture above, we as viewers cannot tell  much of what is exactly going on but with the accompanying diegetic sounds, it's clear that Rain Man is watching TV while the present room is in audible chaos as kids are crying outside the frame.

"Sounds can interact with images in infinite ways, and strategies used to combine the two fundamentally affect our understanding of film." (Corrigan and White 2012 p.183).

Synchronous and Asynchronous Sound:

Asynchronous sound - Sound of the roulette board spinning behind the camera.

Synchronous sound - Sound and image of the roulette board spinning within the picture frame. 

Both of these sound elements play a crucial role in rendering the virtual world to the audience's mind. We have to hear what we see and still hear if we are close to what we see. The two pictures above show that the sound of the roulette board is heard from different camera shots even if we do not see the object itself in the picture. It is also interesting that the pitch and volume of the sound changes as different shots are shown to further enhance the virtual experience.

Simultaneous and Non-Simultaneous Sound:

Simultaneous sound is sound that in motion with the objects in the picture that it corresponds to. This is when, for example, the sound of the character talking is heard at the same time the character is same character is speaking; or when a gunshot is heard when a gun is being fired. The sounds must intentionally match the objects or characters. Sounds that do not match the objects are to be referred as non-simultaneous sound.

At the end of this shot, there is a sound of an electric garage door opening but the car is still driving towards the house.

The next shot cuts to a close-up of the garage door of where we can identify the origin of the sound.

The above images are probably the only examples from the film where the film makers have used the effect of simultaneous and non-simultaneous sound. As the picture caption states, a sound of a garage door is heard with the idea that it is playing from the future, representing a flash-forward. The picture also shows that the characters are still in driving in the car towards the house. When the next cut is shown, the characters are already standing outside as they wait for the garage door to open.

References:

Book: Corrigan, T,. P, White,. (2012). The Film Experience: An Introduction. Boston. Bedford/St.Martins.

Film: Levinson, B. (Director). (1988). Rain Man [motion picture]. USA: United Artists,. Guber-Peters Company, The,. Stat Partners II Ltd,. Mirage Enterprises.

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Discussion of Scene Realism In "We Are the Best".

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Discussion of Scene Realism In "We Are the Best"(2013).

What makes it feel like the characters belong in the particular setting? Is this even important?
A film by Lukas Moodysson, "We Are the Best", shows that providing the right atmosphere can achieve a sense of historic authenticity within its virtual film world.

Characters wearing clothes representing the 1980s youth of Sweden.

Scenic and Atmospheric Realism:

As the film plays out, one with a reasonable mind of knowing what modern Sweden looks like nowadays would hopefully pick up a vintage theme on the characters and the world surrounding them before the film ends. It feels like wherever the characters go from place to place it still feels the same without feeling that one atmospherically dominates the other. As opposed to some TV programs or shows, there is a sense of an outside space from the frames where they could move about from room to room and not lose the continuity of the vintage atmosphere. From clothing to cars to the food the characters eat, everything feels like it's in the right place as if the picture frames were into another dimension of time - in the 1980's.  

Attention to detail in costume design and props are crucial to set the atmosphere.

"The most prominent vehicle for cinematic realism, [] is the scenic realism of the mise-en-scene, which enables us to recognise sets and settings as accurate evocations of actual places." (Corrigan and White 2012. p.71)

Corrigan and White simply states that the overall realism of the viewing experience can be achieved with the use of correct props, costume, makeup, etc. We as the audience can associate certain objects or acting distinctive to a certain place or time period. 

Lighting can be one of those effects to further enhance the visual realism.

For example, the picture above has a certain lighting effect that works quite well with the time period of the setting. Dim with an orange colour-like tint, it shows that the film markers were going for the effect of old light bulbs rather than modern well-lit ones which has better colour vibrancy for the room.  

Film Objects and Real-World Objects:

Does today's youth dress like this?

Mohawks, baggy shirts, bright red-coloured jeans; would young girls today be expected to dress like the girls in "We Are the Best"? Film makers that are making films set in a different time period must take inconsideration of the real world versus the one they are trying to create. It may ruin the historic authenticity of the film if, for example, the main character is holding a modern consumer product or if the car that is being shown is clearly not from the era. Audiences, with or without, familiarity of the time period or place should able to tell (sometimes objectively) if something is negatively interfering with their enjoyment of the film regarding with objects or the acting.

References:

Book: Corrigan, T,. P, White,. (2012). The Film Experience: An Introduction. Boston. Bedford/St.Martins.

Film: Moodysson, L. (Director). (2013). We Are the Best. [motion picture]. Sweden: Film i Väst, Memfis Film.

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