Points of interest are located on the upper half of the fram while the subordinated are in the lower half
Working class in Cinema
Onscreen/ offscreen
portion of frame delimited by the frame of a shot / extend the frame in viewer imagination ,
diegesis
Le terme "diégèse" désigne, l'univers fictif dans lequel se déroule l'histoire racontée. (les événements, les personnages, les lieux et les éléments) / extradiegese sont extérieurs à cet univers, comme la musique de fond
off frame
the real space that surrounded the offscreen space such as filming equipments
vanishing point
constitutes a strategic position of the camera in the composition.to give a sense of perspective (3D) and depth
short-focal-length/ long-focal-length lens
allow to see a face close-up and a part of the bcgrd even another character+ increase distance btw characters / almost excludes the decor
long short
figures more prominent but backgrd dominates
Définition
Medium long shots
framed from the knees
Medium shot/ close-up
from the waist up and expressions are more visible/ body from chest-up
close-up
showing just small object or hands or foot, shows in details
Angles
relation between camera and subject, can be low (looking up), straight-on or high (looking down)
level
relation btw both horizontaly, straight or tilted or canted (incliné)
Height
position of the camera, can be high, normal or low
composition
character facing us= front view
back to the camera = rear view
side-on = de profil
composition can be centered or not
shot/ reverse shot
when we see one pov and then the facing pov
Définition
frame inside the frame
surcadrage
Blurred / sharp + deep focus
out or in focus,deep focus = foreground, bckground are in focus
racking focus
the practice of changing the focus of the lens during a shot.
following shot
accompany a movement
the pan
movement rotates the
camera horizontally, watching figures as they move
handheld camera
Bumpy, jiggling image.
The operator does not anchor his camera on a
tripod or a dolly.
reaction shot
A shot showing the reaction of a character to something or someone seen in the previous shot
Cross-cutting
cutting back and forth between shots from two scenes, suggesting that both actions occurred simultaneously
point of view shot
adopt a character’s optical viewpoint, as if looking through the character’s eyes.
But editing and sound mixing can create effects of spatial-temporal disjunction:
- Diegetic voice-over commenting images from the past,
- Sound bridges between two sequences,
- Intrusion on the image of one scene by the sound from another scene, particularly in the case of crosscutting.
images of social classes in Cinema
A retenir :
Social class is a notion hard to convey, it is not immediately visible, it had to made it so by the notions of it (characterization, narration)
- When you're young, the connection with your social class is less visible than with their parents as you try to escape from a social identity and bcgrd
Film Trends
British New Wave - 59-63
- completely new and transgressive genre -> new devices
- Black & white (to give more authenticity) -> realism
- no big budget, inspired from images of documentary/news -> pseudo-documentary style still fiction
- real locations and with real people rather than actors, apparently capturing life as it happens. + sense of impro
- Their work drew attention to the reality of life for the working classes, especially in the North of England
- This particular type of drama, centred on class known as the Kitchen sink drama used a style of social realism which depicted the domestic situations of working-class Britons. Sense of entrapment
- often deals with Angry Young Men - working class youngsters frustrated by the society -selfish characters
- at a moment of better conditions for the WC(welfare State, consumerism, public housing, techno improvements -> increase frustration BUT inequalities still on in eco and educational level = tensions
- tackle taboo topics
Most famous film from the FR New Wave is 'à bout de souflle'
A retenir :
Ideological state, more on individual issues than on political one. “Social problems explored are framed in terms of personal, not economic or industrial relations
A retenir :
Classic teenagers figure thourghout cinema history are part of middle-class or upper-class. ('the rebelious teen)
Free cinema during the 50s
- documentary film movement
- ouside cinema industry
- B&W on 16mm film = unpro work, cheaper like doc
- handheld camerawork
- focus on oridnary, wc subjects
- Most of the films deliberately omitted narration.
"No film can be too personal. The image speaks. Sound amplifies and comments."
- example of O Dreamland, by ANderson 1953, This kind of shot accompanied this very humble perspective, leading to places people never pay attention to
Background
- gloomy landsacpe
- always behind to never forget where they are
- new types of landscapes from the North
- setting as important as characters (popular homes, wc neighborhood
- not that much of space between the characters and the top of frame
- mostly naturel light for authenticity
- shooting on location = real spaces
- deep focus -all around also important
- use of longshot.
Ken Loach
- born in 1936
- started after the BNW for the BBC (good way to start a carreer
- no happy endings
- his film treatment of social issues such as poverty, homelessness in Cathy Come Home
- his legacy : Working on the relationship between invisible and marginalized character in a very intimate way
It made me realise that cinema could be about ordinary people and their dilemmas. It wasn't a film about stars, or riches or absurd adventures
Kes by Ken Loach in 1969
- Characters completely modelled by his neighbourhood, sense of location and places
- with harsh lighting but also back lightin
- Reactive camera, able to seize unplanned events during filming -> More about observation than staging
- use of comic stereotypes
- no actors (Billy never acted bfr)
- it remains a biting indictment of the British educational system of the time as well as of the limited career options then available to lower-class
Billy struggles with bullying, family issues, and a bleak future. He's a working-class boy who finds hope and purpose in training a kestrel, offering a brief escape from his harsh life before tragedy strikes.
a type
a character a little bit too much, he represents more than a simple character but an institution, the nation. We don’t have to think he’s real, he exist.
The Thatcher Era 1979-1990
- Americanized society Reagan X Thatcher
- new policy against the 'Nanny State'
- Individualism entrepreneurial culture, at this moment it also meant, more social contrasts, between rich richer and poor poorer.
- eco trouble+ declin of the social prestige
- The motto of politic = everyone has become middle-class/ one great middle-class. WC should be moke, destroyed
A retenir :
Working-class individuals were consistently caricatured and demonized in the press, reality television and popular culture as whole -> diretors need less stereotypical images of the WC
The Post-Thatcher Era
- Shane Meadows and Andrew Arnold. were drawing on their own personal biography, to build more authentic representation. They were from the wc.
- Andrea moved to LA to study films - she made WASP - provocative movie about daily-life struggles and FISH TANK a dancer without leaving class
- Poverty is not shown as connected with economic situations, no ref to the gvt or institution but more on individuals in opposite to Ken Loachwho's here to tell about the socio-eco context
- Narratives are focused on individuals
- a time of New leisure activities and mass consuming habits (arcade, discs, video games, gymnastic) + Collapse of society. Intensification of conflicts
A retenir :
Free cinema:
- Lindsay Anderson- O Dreamland 1953
BNW:
- Tony Richardson- Loneliness of ... 1962
- Tony Richardson- Taste of Honey 1961
- Karel Reisz- Saturday Night 1960
Next Generation :
- · Ken Loach-Kes 1969
- Peter Yates- Breaking Away 1979
(BNW codes in America with Teen Movie codes)
Post Thatcher : after 90s
- Stephen Daldry - Billy Elliot 2000
- Andrea Arnold- Fish Tank
