Reading: Framing – The Building Blocks of a Scene

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The Frame

Setting the frame – a series of choices that determines what the viewer sees and does not see.

First choice – camera placement in relation to the scene.

Further choices – field of vision; movement.

These work together to influence how the viewer perceives the shot

  • content of the scene
  • emotional undercurrent
  • subtext to action and dialogue

Further reading – ‘Framing’ in Film Art, pages 177-209

 

Static Frame

Proscenium – the viewer is a third person observer.

This is especially true if everything about the frame is normal: normal level, normal lens, no movement, etc.

It can be a useful tool; carries its own implications of POV and world view.

For example: Barry Lyndon (1975) dir. Stanley Kubrick – each scene is played out within a fixed frame. Fixed, well-composed, balanced frames that reflect the static hierarchical society in which everyone has their place in a society governed by rules. The actors move within this frame without being able to alter it. The static frame reflects the world in which they live; implies a lack of mobility.

Another example is Strange Than Paradise (1983) dir. Jim Jarmusch.

 

The Building Blocks of a Scene

 

Inserts

  • Informational inserts – give viewer some essential information the need to know (e.g. clock on wall, file pulled from drawer).
  • Emphasis inserts – usually connected to the main action, but not essential to see it (e.g coffee cup jolts as hand pounds table; window rattles in wind).
  • Atmosphere inserts – the little touches that contribute to the mood, pace or tone of the scene; add symbolism or visual allegory; used for stylised filmmaking; must be used with caution.

Connecting shots

  • Shows both characters in one shot – often in the form of over-the-shoulder or wide shot.
  • Make scene feel more complete and whole – rather than simply using POVs and reaction shots.
  • Connecting shots tie things together in a way that clarifies and emphasises the physical.
  • Good shooting – visual elements reinforce the narrative elements.

Pickups

  • any type of shot, master or coverage, where you are starting in the middle of a scene.
  • shots filmed in order to make a good edit.

Transitional shots

  • not parts of a scene themselves, but instead serve to connect two scenes together.
  • some are simple cutaways (e.g. a scene ends, cut to shot of sunset, cut to next scene).
  • a visual code

 

Key points for me

Framing is key. There is nothing random about framing shots. It requires careful thought and considerable understanding to build a scene visually. Applying the grammar of film requires a knowledge of the various shot types and how to apply them within a scene.

 

Brown, B. (2012) Cinematography: Theory and Practice 2nd edition New York: Focal Press

Film Art