Difference between revisions of "JCM212/mise-en-scene and cinematographic analysis"
From Screenpedia
Jump to navigationJump to search (added mise-en-scene questions) |
|||
| Line 1: | Line 1: | ||
==Post-quiz free-time activities== | ==Post-quiz free-time activities== | ||
| − | *Start | + | *Start reading, for 2/28 the keywords: |
| + | **production, copyright, brand, censorship | ||
*Connect to [[JCM212_Film_and_Media_Theory#Study_groups|your study group]]'s Google doc [create a new page?} | *Connect to [[JCM212_Film_and_Media_Theory#Study_groups|your study group]]'s Google doc [create a new page?} | ||
| − | + | **Write ''another'' a seven-word (or fewer) review of the last film or TV show episode you liked. | |
| − | + | **[https://docs.google.com/document/d/1RoT964RcoZBTdTKJ0Z_Ww00cEoyvm8fhaHLNNY8ADbw/edit?usp=sharing Group 1] | |
| − | + | **[https://docs.google.com/document/d/1zEUNyRYadZh0PpqxSQk6-c2ea5sCV0gAQIS2AU1TfBA/edit?usp=sharing Group 2] | |
| − | + | **[https://docs.google.com/document/d/1efbQjOT-HG8zYbu-iXiwj7ifNLjbH9JP1LYA5J1G43g/edit?usp=sharing Group 3] | |
| − | + | **[https://docs.google.com/document/d/1ERZsOg8jFBCLS4MKXDEiguxD5OWCk1mMPzJrEkrWW4k/edit?usp=sharing Group 4] | |
| − | + | **[https://docs.google.com/document/d/112s50ed0wFZ_55D-cLo5CSoEa8CL-kMGwfcc-EaiZFM/edit?usp=sharing Group 5] | |
| − | + | **[https://docs.google.com/document/d/1uZrxFoPqxcJVhE_rXBa3S9Rzfi1spSLj2cZSMRU66HI/edit?usp=sharing Group 6] | |
| − | + | **[https://docs.google.com/document/d/1DxOICrsWLyo6NoCaercPF95G1RaBZajVCnqIc7Vq3ag/edit?usp=sharing Group 7] | |
| − | + | **[https://docs.google.com/document/d/1n6hmReMtzKp60lw2_zXIx2EGIlY9Y5ZEL92aNG-j_es/edit?usp=sharing Group 8] | |
| − | + | **[https://docs.google.com/document/d/1l_xfThlXygUD7T9RGTJ_QVKEWPVjOP2G0oX3r90C3dc/edit?usp=sharing Group 9] | |
| − | |||
==Group in-class exercise: Identify stylistic elements in ''Shakespeare in Love''== | ==Group in-class exercise: Identify stylistic elements in ''Shakespeare in Love''== | ||
| − | |||
| − | |||
| − | |||
| − | |||
| − | |||
| − | |||
| − | |||
| − | |||
| − | |||
| − | |||
{{Gallery | {{Gallery | ||
|title=''Shakespeare in Love'' | |title=''Shakespeare in Love'' | ||
| Line 35: | Line 25: | ||
}} | }} | ||
<br clear="all"> | <br clear="all"> | ||
| − | + | *Groups 4, 5, and 6 move to Group Study Rooms in the Phifer Learning Commons. | |
| − | + | *Connect to your study group's Google doc (above). | |
| − | + | *As a group, describe how select elements of mise-en-scene and cinematography (from lecture) are used in ''Shakespeare in Love'' to help construct the narrative. Copy specific questions from below. | |
| + | **[https://tcf.ua.edu/EO/DV/ShakespeareInLove.php View ''Shakespeare in Love''] | ||
| + | *Identify each contribution you make by putting your initials after it. Use three initials if your group has students with the same two initials. | ||
| + | *For example: | ||
| + | **Exposition: The exposition of this ''Friends'' episode starts with Rachel and Joey discussing a previously established storyline (Monica and Chandler getting together). The exposition for a second, related storyline and this episode's main story is when we see Monica and Chandler at a work party and it's established that he has an obnoxious "work laugh." A third storyline is introduced when Ross is angry about his ex-wife getting married. (JGB) | ||
==Discussion questions== | ==Discussion questions== | ||
| Line 49: | Line 43: | ||
#*What is "composition in depth" and does ''Shakespeare in Love'' use it in this scene? | #*What is "composition in depth" and does ''Shakespeare in Love'' use it in this scene? | ||
#What narrative functions does the costume design by Sandy Powell serve? | #What narrative functions does the costume design by Sandy Powell serve? | ||
| − | |||
| − | |||
===Post-group work free-time activities=== | ===Post-group work free-time activities=== | ||
Revision as of 16:37, 7 February 2018
Post-quiz free-time activities
- Start reading, for 2/28 the keywords:
- production, copyright, brand, censorship
- Connect to your study group's Google doc [create a new page?}
Group in-class exercise: Identify stylistic elements in Shakespeare in Love
- Groups 4, 5, and 6 move to Group Study Rooms in the Phifer Learning Commons.
- Connect to your study group's Google doc (above).
- As a group, describe how select elements of mise-en-scene and cinematography (from lecture) are used in Shakespeare in Love to help construct the narrative. Copy specific questions from below.
- Identify each contribution you make by putting your initials after it. Use three initials if your group has students with the same two initials.
- For example:
- Exposition: The exposition of this Friends episode starts with Rachel and Joey discussing a previously established storyline (Monica and Chandler getting together). The exposition for a second, related storyline and this episode's main story is when we see Monica and Chandler at a work party and it's established that he has an obnoxious "work laugh." A third storyline is introduced when Ross is angry about his ex-wife getting married. (JGB)
Discussion questions
How does mise-en-scene help to communicate the story in this short scene from Shakespeare in Love (John Madden, 1998)? (See video clip.) Or, in other words, how does mise-en-scene function to help construct the narrative?
- What narrative functions does the set design by Jill Quertier serve?
- How does it use "iconography"?
- What narrative functions does the lighting design by Richard Greatrex serve?
- Does it use three-point lighting (explain what three-point lighting is)?
- Is it high key or low key?
- What narrative functions does the "blocking" by John Madden serve?
- What is "composition in depth" and does Shakespeare in Love use it in this scene?
- What narrative functions does the costume design by Sandy Powell serve?
Post-group work free-time activities
- Put on headphones and watch remainder of Shakespeare in Love (on Blackboard)
- Start reading, for 2/28 the keywords:
- production, copyright, brand, censorship
Individual stylistic analysis
Details here: JCM212/Stylistic Analysis
Bibliography
- Jeremy G. Butler, Television: Critical Methods and Applications (New York: Routledge, 2011).
- David Bordwell and Kristin Thompson, Film Art: An Introduction, 8th ed. (New York: McGraw-Hill, 2007).
