Difference between revisions of "JCM412512/Analytical Exercise (Discussion)"
From Screenpedia
Jump to navigationJump to search (Change from Film Art questions) |
|||
| Line 1: | Line 1: | ||
| − | http://www.tcf.ua.edu/Classes/Jbutler/T440/AnalExIllustrations.htm | + | #''Briefly'' describe the mise-en-scene of the scene in which Sugarpuss kisses Bertram the ''second'' time. How does mise-en-scene function in term of the narrative? That is, how does it help to build the characters and their relationship? Be sure to discuss setting, costume, lighting, and the positioning of the actors. (15 points) |
| + | #Based on the "second kiss" scene, draw a single diagram of the professors' work room from an overhead, "bird's eye" view. Indicate the main camera and actor positions. Label the camera positions for shot "1," "2," etc.--as we did in the class editing exercise. Does the editing adhere to the 180 degree system? Explain. | ||
| + | #Explain in your own words what the concept of "sound perspective" means. How would you describe the sound perspective in the "second kiss" scene? Judging from how it sounds, what conventional position of the microphone was used? Explain. | ||
| + | #What is the central narrative enigma of ''Ball of Fire''? Comparing the film's beginning and ending, how is that enigma posed to the viewer and is it resolved or not at the end? | ||
| + | #How do the story time and the screen time of ''Ball of Fire'' differ in order and duration? | ||
| + | #In one shot (below), Bertram speaks with Sugarpuss. Note: This shot is ''not'' from the scene of the second kiss, which is to be used in the mise-en-scene and editing questions. Discuss the cinematography (especially camera angle, framing and depth of field) of this shot in terms of how it supports the narrative. | ||
| + | {{Gallery | ||
| + | |title=''My Other Husband'': Cinematography | ||
| + | |width=400 | ||
| + | |lines=1 | ||
| + | |align=center | ||
| + | |File:MyOtherHusband21 jpg.jpg|alt1=''My Other Husband'' screen shot.|Philippe (above) and Vincent in bunk beds. | ||
| + | }} | ||
| + | |||
| + | == Bibliography == | ||
| + | #Jeremy G. Butler, ''Television: Critical Methods and Applications'' (New York: Routledge, 2012). | ||
| + | |||
| + | ==External links== | ||
| + | #[http://www.tcf.ua.edu/Classes/Jbutler/T440/AnalExIllustrations.htm Analytical Exercise examples] | ||
| + | #*[http://www.tcf.ua.edu/EO/DV/MyOtherHusband_24_54.php Vincent and Alice scene (video clip)] | ||
| + | |||
| + | [[Category:TCF440/540 Discussion]] | ||
| + | |||
| + | |||
| + | |||
| − | |||
| − | |||
#'''Group 3:''' How do the story and the plot of the film differ in order, duration and/or frequency? | #'''Group 3:''' How do the story and the plot of the film differ in order, duration and/or frequency? | ||
#'''Group 4:''' Does Ball of Fire follow the narrative conventions of classical cinema—as Bordwell and Thompson explain it? Explain, with specific reference to individual scenes. | #'''Group 4:''' Does Ball of Fire follow the narrative conventions of classical cinema—as Bordwell and Thompson explain it? Explain, with specific reference to individual scenes. | ||
| − | #'''Group 1:''' | + | #'''Group 1:''' |
| − | #'''Group 2:''' | + | #'''Group 2:''' |
#'''Group 3:''' Is the music in Ball of Fire diegetic, nondiegetic, or both? Cite examples. | #'''Group 3:''' Is the music in Ball of Fire diegetic, nondiegetic, or both? Cite examples. | ||
| − | |||
| − | |||
Revision as of 14:24, 23 January 2013
- Briefly describe the mise-en-scene of the scene in which Sugarpuss kisses Bertram the second time. How does mise-en-scene function in term of the narrative? That is, how does it help to build the characters and their relationship? Be sure to discuss setting, costume, lighting, and the positioning of the actors. (15 points)
- Based on the "second kiss" scene, draw a single diagram of the professors' work room from an overhead, "bird's eye" view. Indicate the main camera and actor positions. Label the camera positions for shot "1," "2," etc.--as we did in the class editing exercise. Does the editing adhere to the 180 degree system? Explain.
- Explain in your own words what the concept of "sound perspective" means. How would you describe the sound perspective in the "second kiss" scene? Judging from how it sounds, what conventional position of the microphone was used? Explain.
- What is the central narrative enigma of Ball of Fire? Comparing the film's beginning and ending, how is that enigma posed to the viewer and is it resolved or not at the end?
- How do the story time and the screen time of Ball of Fire differ in order and duration?
- In one shot (below), Bertram speaks with Sugarpuss. Note: This shot is not from the scene of the second kiss, which is to be used in the mise-en-scene and editing questions. Discuss the cinematography (especially camera angle, framing and depth of field) of this shot in terms of how it supports the narrative.
Bibliography
- Jeremy G. Butler, Television: Critical Methods and Applications (New York: Routledge, 2012).
External links
- Group 3: How do the story and the plot of the film differ in order, duration and/or frequency?
- Group 4: Does Ball of Fire follow the narrative conventions of classical cinema—as Bordwell and Thompson explain it? Explain, with specific reference to individual scenes.
- Group 1:
- Group 2:
- Group 3: Is the music in Ball of Fire diegetic, nondiegetic, or both? Cite examples.
