in this section I will be discussing the uses and gratifications of cinematography in both Let The Right One In and Michael
Aim
This page will be explaining the use of cinematography in two films and the way this has influenced my own short film.
Objective
This page will:
- Define what is meant by Cinematography
- Explain what is meant by Cinematography
- Identify and Denotate the Conventions of the Cinematography of 2 films
- Analyse and Connotate the Conventions of the Cinematography of 2 films
- Explain how the Cinematography of 2 films have influenced the narrative of my own short film
Defining cinematography
Cinematography is described as what occurs on screen within a defined area (which itself is defined by the size and scope of the camera shot). A cinematographer works closely on the visual aspects of a film with the director to ensure that the film represents the correct ideas and vision of the film makers. |
Explaining cinematography
Cinematography captures what the cinematographer's eye sees and creates a new meaning to what they are imagining. For example, the camera uses different aspects including distance, framing, camera movement and format. There is also the use of shot distance including long shot, shot close up etc. to specify different things, such as close-ups for facial expressions and distance shots for environment aspects. |
Identifying and denotating the conventions of cinematography
Let The Right One In
In the introduction of Let The Right One In, the cinematography uses a medium shot with a 35mm camera. There are a lot of natural lighting shots especially for the exterior daytime scenes, although some of the scenes suggest that there may have been a box light used, especially in the forest scenes. The film uses dark contrast and dark shots to portray the feeling of horror, and to emphasise the supernatural feel of the film. The wide shots of the man being killed in the woods in the snow give an interesting feel because it captures a lot of the environment as well as the main characters. There are a lot of shots of Oskar being seen from behind or from the side or through windows, which shows his shy and quiet nature and makes the audience feel like they can't quite see him close up. The scene with the introduction of Eli shows her in darkness and framed by buildings, which makes the scene feel claustrophobic and closed in. This helps the audience to feel anxious and in the same position as Oskar.
Let The Right One In
In the introduction of Let The Right One In, the cinematography uses a medium shot with a 35mm camera. There are a lot of natural lighting shots especially for the exterior daytime scenes, although some of the scenes suggest that there may have been a box light used, especially in the forest scenes. The film uses dark contrast and dark shots to portray the feeling of horror, and to emphasise the supernatural feel of the film. The wide shots of the man being killed in the woods in the snow give an interesting feel because it captures a lot of the environment as well as the main characters. There are a lot of shots of Oskar being seen from behind or from the side or through windows, which shows his shy and quiet nature and makes the audience feel like they can't quite see him close up. The scene with the introduction of Eli shows her in darkness and framed by buildings, which makes the scene feel claustrophobic and closed in. This helps the audience to feel anxious and in the same position as Oskar.
Underwater scene |
How the film was shot |
Michael
The cinematography in the film Michael especially in the tracking scene through the car park is strong as it uses natural lighting and a steady right to left tracking shot following the boy and Michael walking through a car park. The camera follows the boy and michael through the cars at a low angle meaning you only see glimses of the actors when they walk past the gaps between cars. This makes the scene more tense and more dramatic as it makes the audience feel suspicious of their behaviour, and makes them feel desperate to try and see what's going on. The natural lighting makes it seem like a normal day but the shot makes it look like they're almost hiding from the world by ducking behind the cars. Also the fact that it all happens in one shot makes it feel like our eyes are never taken off the characters.
1:04 to 1.05 shows tracking scene
Marika Hackman (You Come Down) music video
The final film that i want to right about is a small budget music video by marika hackman which consists of one tracking shot . This was where our first idea walking around a house came from. The use of cinematography in this music video is purely a tracking shot which i felt when i first watched it was very effective the use of the almost follow cam in a run down house gave what i thought could be a very haunting horror or thriller idea. her music video consists of her being followed around an abanded house alone. these shots start from the kitchen of the house all the way to the corner top room of the house. The tracking is steady and smooth and i feel is really effective for this music video and this song.