A+ Pages:8 Words:2142
This is just a sample.
To get a unique essay
Hire Writer
Type of paper: Essay
University/College: University of Arkansas System
Download: .pdf, .docx, .epub, .txt

A limited time offer!

Get custom essay sample written according to your requirements

Urgent 3h delivery guaranteed

Order Now

Visual storytelling in films

Literature Review

Introduction

In this foreword subdivision, more than a few factors that shape the art of associating visuals and narratives in movies will be listed down. These factors will be the root of the research in order to execute the methodological analysis analysis of the thesis, in add-on to replying the research inquiries every bit good as analysing the obtained consequences from the research.

Ocular Storytelling in Films: What is it?

The exact description of ocular storytelling is difficult to trap down compactly as there are assorted schools of idea sing the affair.

We will write a custom essay sample on Visual storytelling in films specifically for you
for only $13.90/page
Order Now

All the same, The International Film School of Paris ( EICAR ) had defined it honestly as “Communicating visually in signifiers that can be read or looked upon. In film a narrative is most ocular when thoughts and emotions are expressed through public presentation and aesthetics as opposed to dialogue.” Based on that word picture it is non difficult to understand why Monaco ( 2000 ) claims that a movie is a linguistic communication for it ‘communicates’ to an audience. It is non a linguistic communication in the sense of English, French or Mathematic is, for there is no such thing as grammar or vocabulary that needed acquisition.

Campsall ( 2002 ) is in understanding as he elaborated that the linguistic communication of movie expresses the manner a movie would ‘speak’ to its audiences and witnesss which is why managers, manufacturers and editors work to bring forth intending from the traveling still images of movie, picture and telecasting. The viewing audiences in the terminal are responsible in decrypting these significances in a non dissimilar manner to construing spoken and written linguistic communication. When watching a movie ; everyone from assorted age groups is able to grok the visuals they see. Monaco ( 2000 ) states farther that there are two decisions, that everyone can comprehend and place a ocular image which leads to the above statement. Another is that even the simplest ocular images are interpreted otherwise in by people with different backgrounds. This is because, as human existences, we don’t merely read what we see but we bring to our reading of traveling images, a scope of preexistent outlooks, information and common experiences that form the significance we take from what we see ( Campsall, 2002 ) .

An indispensable aspect of movie linguistic communication is its absorbing disposition and its manifestation of pragmatism besides known as verisimilitude. As Campsall ( 2002 ) wrote, it is non merely as if the audiences are watching a bona fide ‘window on the world’ , it’s a window that they would want to stay on observation. Through these agencies, movies are non merely capable of being entertaining, edifying and informing to its viewing audiences, but besides enabling them to comprehend the universe in a peculiar agency. Furthermore this makes the movie linguistic communication really much recognized as semiotic what with the use of marks, codifications and conventions. Those who could understand the linguistic communication are able to see the methods or conventions used for ocular storytelling.

Throughout this research, there were many books and articles that voiced out their sentiments on methods of reading a movie ; each movie slangs have their specific symbolism and usage depending on what the way of the narrative. When one is able to decently read a movie by agencies of placing and understanding the conventions, one would be capable of ocular storytelling ( Sijll, 2005 ) . Below is the list of the accrued conventions used in today’s ocular storytelling.

Ocular Storytelling: Space

Space in movie refers to the spacial kineticss built-in in the frame of a movie. One would state that a movie frame is kindred to a inactive snapshot therefore portion of a moving image. Like a picture, the inactive image of the frame presents built-in storytelling chances. Because a film is a gesture image, the composing of the frame continuously changes. This added features affords two of import narrative elements – that of screen way and comparing. Screen way can propose hostility, individuality, and struggle, for illustration. A traveling frame might be used to stand for alteration, similarity or it’s face-to-face, stasis.

Ocular Storytelling: Framing a Composition

The oculus responds otherwise to assorted ocular stimulations. Among the most of import elements that have been discerned are: brightness, coloring material, size, form, gesture, velocity, and way. Through careful uses these elements can be used to steer the audience’s attending and emotional response. As ever, content, apposition with surrounding frames, and the intersection of other elements will lend to the viewer’s response.

Ocular Storytelling: Shape within the Frame

Depending on usage and context, forms can be used to propose thoughts and emotions. Traditionally there are three cardinal forms: the circle, the square and the trigon. Out of these three, many signifiers can be derived out of them: the half circle, the rectangle, and many others. For each forms there are certain traditional association made of them. Block ( 2008 ) listed in “The Visual Story” some of the form significances. Rounded Shapes are associated with indirectness, inactive, romantic, refering to nature, soft organic, childlike, safe and flexible. Squares nevertheless are direct, industrial, ordered, additive, unnatural, grownup, and rigidity. Triangles are for aggressiveness and kineticss. Block cautiousnesss that these are non regulations for new associations can ever be made depending on the demand of the narrative. Shape is simply one component in the frame.

Ocular Storytelling: Editing

Editing is a manner of compressing clip and infinite or bring forthing the result of a dream sequence or flashback. The consequences of redacting are more frequently than non seamless and natural that the audiences tend non to be cognizant of it. In theory, redacting is the bottleneck of scenes through assembly of shootings. Different picks of redacting could steer the audience’s emotional response. Pudovkin ( 1926 ) had set down five redacting techniques that remain the foundation of the modern twenty-four hours film editing: contrast, correspondence, symbolism, simultaneousness, Leit-Motif.

Ocular Storytelling: Time

A movie is a dramatic representation of life. It is made up of scenes ordered to stand for the transition of movie clip through the assembly of emended shootings. Film clip is seldom paced the same as existent life. With the exclusion of mise-en-scene, most emended sequences pull strings existent clip. From one cut to another, an chance of changing experiences of existent clip can be made. The ground film makers alter clip is because they are making a dramatic narrative. Merely those minutes that contribute to its promotion are included, all else is left out.

Ocular Storytelling: Sound and Music

Outside of the musical mark, films rely on three sorts of sound to state their narratives: Dialogues, voiceover and sound effects. While voiceover and duologue are good understood to be writer’s tools, few film writers approach sound effects with the same certainty. Yet sound effects are every bit much the horizon of the author as are ocular metaphor, sound effects can besides propose an drawn-out aural metaphor. They can add beds of intending to a movie that are difficult to accomplish in other ways. Sound effects can be obvious or elusive. They can deliberately pull attending, or manipulate with stealing. They can expose, camouflage, suggest set up or uncover. They can besides be associated to specific events or characters.

Lyrics of music can move as the voice of a character. They can uncover the inner ideas in a manner that can be more interesting than a simple duologue scene. Lyrics can besides move as the voice of the storyteller. They add another bringing system with which to parcel out character and thematic information. In other times, music is symbolically used as a narrative component.

Ocular Storytelling: Passages

The motion between the terminal of one scene and the beginning of another is called a passage. Each passage presents an chance to convey narrative information by virtuousness of how the scenes are cut together. The scene can merely be cut with no knowing mention or constructed to add a narrative component. A duplicate passage is one manner to work this chance and can be achieved in an infinite figure of ways.

Ocular Storytelling: Lenss, Positions and Gestures of the Camera

The camera presents a scene – topics, actions, scenes – in a series of shootings that render images on a screen. Alternatively of merely puting the camera where an audience can watch the action, the camera is able to supply the audience with prosecuting ocular experiences. Assortment is of import for if a scene is merely rendered by a continue series of broad shootings, the oculus will shortly tyres of repeats. A good shooting will normally incorporate a assortment of camera framings, and angles. For illustration by working the deepness of field of the lenses, each character on scene can populate their ain horizontal program. In this manner characters can be staged in-depth. This allows the audience to see each character responding to one event at the same time and in existent clip. Different places besides play a portion. The closer the camera is to a character, the more likely audiences will sympathize with the character.

Ocular Storytelling: Lighting and Colour

Film interprets topics and scenes as images of visible radiation and shadiness. Lighting is one of the few facets in movie that has the ability to make a certain world to the audience. There are a figure of different manners of lighting, each designated as a manner geared to the subject and temper, every bit good as its genre. Lights can besides be used to weaken capable affair. Color on the other manus tends to be a subconscious component in movie. It’s strongly emotional in its entreaty, expressive atmospheric. In short, color aid to propose tempers.

Ocular Storytelling: Props, Wardrobes, and Locations

Props provide a dramatic manner to show a characters interior universe. Props speak visually, are nomadic, and can be returned to throughout the film. By intentionally choosing and working props, a film’s scene can be given an added bed of significance. Wardrobes are the same as props ; the determination to include wardrobe elements depends on whether it adds sufficient dramatic value be it to a character, to demo character transmutation or the transition of clip. Another manner to project the interior ideas of character is to pull strings the locations. It besides offers a immense storytelling potency, for a certain location can rise play, suggest analogues and contrast besides specifying a character. All three can besides function the intent of conveying a sense of metaphor to the movie.

Mentions

  1. Arnheim, R. 1969. Film as art. Berkeley: University of California Press.
  2. Bellantoni, P. 2005. If it ‘s violet, person ‘s gon na decease. Amsterdam: Focal Press.
  3. Bordwell, D. 1985. Narrative in the fiction movie. Madison, Wis. : University of Wisconsin Press.
  4. Bordwell, D. ; Thompson, K. ( 2006 ) . Film Art: An Introduction ( 8th ed. ) . New York: McGraw-Hill
  5. Block, B. ( 2008 ) . The Ocular Story ( 2nd ed. ) . Burlington: Focal Imperativeness
  6. Campsall, S. ( 2002 ) . Analyzing Traveling Image Texts: “Film Language” [ Online ] . Available: hypertext transfer protocol: //www.englishbiz.co.uk/downloads/filmanalysis.pdf [ 2011, January 7 ] .
  7. CustomFlix. ( Studio ) . ( 2006 ) . Ocular Culture: Ocular Storytelling [ DVD ] . ( Available from Amazon.com )
  8. Douglass, J. ; Harnden, G. ( 1996 ) . The Art of Technique: An Aesthetic Approach to Film and Video Production. Boston: Allyn & A ; Bacon
  9. Dirks, T. ( No day of the month ) . History of Film: The Pre-1920s [ Online ] . Available: hypertext transfer protocol: //www.filmsite.org/pre20sintro.html [ 2011, February 25 ] .
  10. Duguid, M. ( No day of the month ) . Hitchcock’s Style [ Online ] . Available: hypertext transfer protocol: //www.screenonline.org.uk/tours/hitch/tour1.html [ 2011, February 25 ] .
  11. Ebert, R. ( 2008 ) . How to read a film. Roger Ebert’s Journal [ Online ] , 14paragraphs. Available: hypertext transfer protocol: //blogs.suntimes.com/ebert/2008/08/how_to_read_a_movie.html [ 2008, August 30 ] .
  12. Freeman, D. ( No day of the month ) . Ocular Storytelling in Batman Begins [ Online ] . Available: hypertext transfer protocol: //www2.beyondstructure.com/article_batman.php [ 2011, February 25 ] .
  13. Gelmis, J. ( 1970 ) . The Film Director As Superstar. New York: Doubleday & A ; Company.
  14. Giannetti, L. ( 2001 ) . Understanding Movies ( 9th ed. ) . New Jersey: Prentice Hall
  15. Green, D. E. 2003. The proper usage of cinematic storytelling in scriptural sermon.
  16. Hallahan, K. 1999. Seven theoretical accounts of framing: Deductions for public dealingss. Journal of Public Relations Research, 11 ( 3 ) , pp. 205 — 242.
  17. Martz, M. and Hallahan, K. 2009. Film makers as Social Advocates—A New Challenge for Issues Management: Claims-making and Framing in Four Social Issue Documentaries. Pedagogical Posters \_ 156, p. 119.
  18. Metz, C. ( 1990 ) . Film Language: A Semioticss of the Cinema. Chicago: University Of Chicago Press.
  19. Monaco, J. and Lindroth, D. 2009. How to read a movie. New York: Oxford University Press.
  20. Playboy ( 1968, September ) . What did Kubrick hold to state about what 2001 “ agencies ” ? Playboy Magazine, 10 paragraphs. Available: hypertext transfer protocol: //www.krusch.com/kubrick/Q12.html [ 2010, 12, December ]
  21. Pimenta, S. and Poovaiah, R. 2010. On specifying ocular narrations. IDC Design Research Journal, 3 pp. 25 — 46.
  22. Pudovkin, V. ( 1926 ) . Film technique and Film Acting. New York: Grove Press
  23. Rosenbaum, J. 2010. Goodbye film, hullo cinephilia. Chicago: University of Chicago Press.
  24. Sijll, J.V. ( 2005 ) . Cinematic Storytelling: The 100 Most Powerful Film Conventions Every Filmmaker Must Know. California: Michael Wiese
  25. Ward, P. ( 2003 ) . Picture Composition for Film and Television ( 2nd ed. ) . Burlington: Focal Imperativeness
  26. Zettl, H. 1973. Sight, sound, gesture ; applied media aesthetics. Belmont, Calif. : Wadsworth Pub. Co.