TOPIC 1: Language for the Screen: Film 

YEAR 7 to 8 STUDENTS

All communication, both spoken and written, can be seen as a 'language' .
Film has it's own language that is developed from certain signs and codes that combine to create meaning ultimately to "tell a story".
​
In this topic we analyse these codes and signs, how they make up film language, by looking at the cultural context films are made in and how audience respond. We look at technical and symbolic elements that comprise film so that we can be informed viewers. Once we know the language to use, we can apply these to make our own films.

Students you will be both audience and artist. 
Please note - this topic can be used to draw materials from topic 2 - filmmaking.
Teachers  topic covers VCAA - Respond and Interpret strand

Introduction: Meaning in Film and cinematic language.
CASE STUDY: “Cinematic language" - visual tools and vocabulary.
Martin Scorsese on the importance of visual literacy, understanding film context, and the cultural position of films within society.  
Many Australians experienced similar "going to the movies" as for entertainment and as a means, film began to express social concerns and issues.

Essential Activity 1.1:  watch video and answer these questions:
  1. How are ideas and emotions expressed in and on film?
  2. What is meant by visual literacy?
  3. Do you think it is the same as cinematic language?
  4. What are the components that make up visual literacy or visual language in film?
Activity 1.2 – Vocab and terminology understanding.
​Create a vocab list print out or quiz on Zahoot - you teacher will set this up.

Textbook work:

C. Steward and A. Kowaltzke, 2008, Media: New ways and meanings (3rd Edition), Page 4-6- 
YEAR 7 : Meaning and Context 
        DEFINITION: CINEMATIC LANGUAGE 
  • Is the combination of methods, strategies and skills that filmmakers choose to convey the central message and the main ideas of the story that they are trying to tell. 
  • It is basically  storytelling: the tone, atmosphere, and style with which to tell the story in order to provoke in viewer with empathy and emotion. 
  •  Filmmaker understands how to perfect the manipulation of the scene through cinematic timing, transitions, and effects that would convey similar feelings in the viewer.
  • Explicit and implicit meaning. The explicit meaning will directly show the audience a specific scene and relate exact information.
  • The implicit meaning allows for the audience to formulate its own opinion about what they see. It is this interaction between the film maker and the audience which deems a movie to be successful. 
LOOKING AT MOVIES: by Richard Barsam & Dan Monahan, NY: W. W. Norton & Company 2009. 3rd Edition.
Source: M.P. Ossa. "What is meant by cinematic language?    " eNotes, 11 Oct. 2012,
The Role of Film in Society
19TH JUNE 2011  /  ARTICLES & INTERVIEWS BY: VIKAS SHAH MBE / @MRVIKAS
Tom Sherak states:  
"Film is a reflection of society, both present and past. I think the film and it’s innovations sometimes has to catch up to society but sometimes it leads society too. Movies are stories, movies are people who come out with ideas about something they want to say, something they want to tell someone. Movies are a form of communication and that communication, those stories, come from societies- not just where society is presently and what it’s doing now- but where society has been. It’s been that way for as long as movies have been around! Movies are different things to different people, that’s what is so incredible about them. To me personally, movies are about escapism."
Activity Question: 
​1. What do movies mean to you?
2. Can you add any other reasons why people watch films?

Culture and Context - Values, beliefs and viewpoints

There are connections between meaning an audience makes when viewing a film and the intentional or un-inventional meanings made in the film by the screenwriter, director, producer, cinematographer, designers, editor and sound editor. A film exists in society so it can reflect views and values from the time it was made. The narrative, story and characters point of view can be what drives the filmmakers towards a particular meaning.
Picture
C. Steward and A. Kowaltzke, 2008, Media: New ways and meanings (3rd Edition), Page 6
VIDEO CLIP: HOW TO ANALYSE A FILM SCENE.
The decision making process to "tell the story".
​This will help with your assessment tasks


​HOT TOPIC - POINT OF INTEREST: 
IMPACT OF FILM IN SOCIETY

https://platt.edu/blog/film-society-films-impact-society-popular-culture/​
These articles show FILM AND SOCIETY connection - take a look!
Essential Activity 1.3 – Watch the video clips and do a mind map on key themes, viewpoints, cinematic techniques.
Discuss in class War FILMS and points of view from an Australian, American and British context - Gallipoli, Saving Private Ryan, Dunkirk.
Then answer essay question:
  • How is meaning portrayed – use of shots, angles, colour and composition?
  • What does it say about the characters?
  • How does it make you feel?
  • Are there any similarities in the structure of the cinematic storytelling?

Video 1: Gallipoli
​(1981)

Video 2: Saving Private Ryan            (1998)

Video 3: Dunkirk
(2017)
Essential Activity 1.4 MEDIA ARTS IN PRACTICE:
Assessment: Re-edit ONE of the film examples in the World war clips or the Indigenous clips to construct a different meaning.  
Session in editing techniques as is topic 2

Essential Activity 1.5 
Analyse clips from Rabbit-Proof Fence, The Sapphires, Tracey Moffatt “Night Cries”.
Indigenous characters and viewpoints - portrayed in mainstream films:
  • How are the characters portrayed? How are the characters represented? Look at the supporting characters too.
  • What viewpoints are made? ​How can you tell the cultural view points?
  • The filmmakers (director, cinematographer, writer, designers) what techniques do they use?
Do this in conjunction with narrative analysis and representations and mis-en-scene. See below .

Rabbit-Proof Fence
​(2002)

The Sapphires
​(2012)

Night Cries - A Rural Tragedy (1989)

Genre and Audience

To analyse a film you have to understand genre. The film clips above are genre movies. WW1&2 war film and for Indigenous content film clips are mainstream Australian representations. It best to re-watch ​these films once we talk about genre, character and narrative - you might find new layers in the storytelling.
Types of genre:
  • Action. Adventure, Crime, Thriller, Horror
  • Drama, Mystery, Film Noir
  • Musical, Romance, Animation, Comedy, Family
  • Sci-Fi,  Superhero, Fantasy.
  • War, Western, Historical
How an audience responds and views these genre films are based on expectations of the narrative structure, conventions and character representations.
Genre (from the French word meaning type, classification or category) are represented by repetition of codes and coventions. All contributes to story-telling.
HERE IS A VIDEO CLIP ON GENRE 
TEXTBOOK WORK:
Chapter 6: “Media Narrative”: Dunscombee (et.al), 2018, Heineman Media, p.156
Media narrative – introduce to concept and how audience affects this. Activity: discuss your response to the film and explore genre styles and the connection with audience.

Essential Activity 1.6: case study and assessment – STUDENTS research audience reception of these films. Based on THREE world war films. Cultural changes in audience response and war genre films. FILMS Gallipoli, Saving Private Ryan, Dunkirk.
TEXTBOOK WORK:
chapter 3: “investigating narrative” Dunscombee (et.al), 2018, Heineman Media, p.61 - 63
Text focus on story, style and genre. p.63 has great activity for genre conventions and identification.
Activity 1 – Vocab, terminology and concept understanding. Discussion in class. Draw a mind map.
TEXTBOOK WORK:
C. Steward and A. Kowaltzke, 2008, Media: New ways and meanings (3rd Edition)
Genre p. 6 -9 discusses genre codes and conventions
Audience p. 145 , p. 149. Ways audience reads texts. 

Constructing Reality: symbolic, codes, conventions, narrative and characters

Viewers willingly suspend their disbelief as part of their engagement with a film text.
(Heinemann Media, p. 23)
HOW DO WE AS AUIDENCE SUSPEND OUR DISBELIEF? By being invested in the story, the characters and the emotions behind what is happening. 
Elements:
1.Suspension of disbelief
2.Cause and Effect
3.Diegesis
4.Story structure.
​5.Hero's journey
See below on Hero character journey, narrative and shots sizes, camera movements to convey these emotions.
​TEXTBOOK WORK: Chapter 1.4: “Constructing Reality”.. Dunscombee (et.al), 2018, Heineman Media,Pearson Australia, p.22. View - constructing a reality. AND audience understanding. Reality and hyper-reality. P. 28. Intro discussion activity
Activity – Vocab, terminology and concept understanding. Discussion in class. 

Three Act Narratives - explained

source: www.Lessonbucket.com
THREE ACT STRUCTURE:
1. FIRST ACT: ORIENTATION
2.SECOND ACT: COMPLICATION/CONFLICT STAGE
3. THIRD ACT: RESOLUTION STAGE
There are plot lines and climax to these plots. See if you can track this in the next film you watch.

The Hero Character's Journey

HERE ARE BASIC GLOSSARY OF TERMS
1. SHOT TYPES ACMI
​2. There is attached glossary of terms useful. Shot sizes, terminology, definitions.
​“Micro Film Form: A Basic Glossary of The Terms” by Josh Bailey
(A summary of the basic vocabulary of cinematic visual communication). 

micro_film_form_a_basic_glossary_of_the.pdf
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shot_types_|_acmi.pdf
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Codes/conventions explained

Thomas Caldwell, 2017, Film Analysis HandBook, 2nd Edition, Insight Publications, Victoria, Australia. ​p. 4-6
Picture
Text book work: 
C. Steward and A. Kowaltzke, 2008, Media: New ways and meanings (3rd Edition), John Wiley and sons Australia Lty Ltd. page 135
  • Representing reality – resource topic p. 35 to 37 how to analyse representations: codes/conventions, discourses, framing, narrative analysis.
  • Story analysis – plot, character, hero journey. p.145 
Activity 1.7: Title sequence of a movie – anaylse a title sequence in terms of denotation and connotation of signs? What does the film tell us?
Activity 1.8 – Make a list of films you seen recently and decide which one is protagonist and which is antagonist? Explain your reasons

Cinematography and camera techniques


​The language of visual texts, including cinema and film text are comprises of camera techniques.

​These elements are:
  •  Shot Size
  •  Framing and Composition
  •  Depth of Field
  •  Camera angles and movement

Shot size

Picture
C. Steward and A. Kowaltzke, 2008, Media: New ways and meanings (3rd Edition). p. 11

Good Will Hunting (1997)

Resources for this activity:
Download files for script form , Good Will Hunting (1997)​, Story board template and ACMI shot types. 
good_will_hunting_scene.pdf
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870_storyboard-template_v2.pdf
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shot_types_|_acmi.pdf
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Essential Activity– Vocab, terminology and concept understanding. 
 
Activity two – Media arts in practice
1. Students to story board sequence
2. film sequence and shots as a moving image to understand conventions.
Use passage from script Good Will Hunting (1997) ; students to storyboard this TOPIC 2 has resources here. 
​

Composition

Clip: Good video for description of composition and shot sizes.

Depth of field

Explaining depth of field for photography and cinematography. 

Composition and framing

From Motion Array tutorials. 

Camera Movement

Cine fix
Camera Movement List: 1) The Assassination of Jesse James by the Coward Robert Ford 2) 20th Century Women 3) Marnie 4) The Passenger 5) The Candidate (short film by David Karlak) 

Exposure

Perspective
Thomas Caldwell, 2017, Film Analysis HandBook, 2ndEdition, Insight Publications, Victoria, Australia. Pages 37-57

Activity

Lighting Techniques and Visual Style

There are many variety of lighting techniques used. Natural lighting exists with minimal lighting equipment is needed and minimal set up required - common in documentary or news reporting.
In mainstream filmmaking, there is a higher level of set up and equipment required. The most common set up -The Three point lighting: Key Light, Back light and Fill Light.
The more advanced and skilled the cinematographer are the more dynamic the image can be, matching lighting techniques, with depth of field, with camera positions.  Lighting qualities are:
  • Low lighting
  • High Key lighting
  • Day for night
  • Colour, direction, source and texture of the light
THE NEXT SUB-TOPIC MISE-EN-SCENE WILL COVER MORE ABOUT ANALYSIS OF LIGHTING WITH SETS, PROPS, COSTUMES

Cinematic lighting - introduction

​https://fulltimefilmmakercourses.com/- they demonstrate easy, practical ideas and techniques all students can try in their next media project.
Picture
Lighting 101: How to do 3 point lighting video, Published 27th January 2014, https://www.reelmarketer.com/lighting-101-basic-lighting-setup-for-video-shoot/
1.9 Activity- respond- assessment questions:
How is the lighting used to construct mood? Does the mood shift at any point during the film, and how is that shift in mood created?
Use Pinterest to set up a mood board with references of lighting styles and techniques.
https://www.pinterest.com.au​
​1.10 Activity – Media arts in practice:
Students get to map out and “plot” lighting plan, blocking and staging of a scene, camera moved. Team with storyboarding and with Activity in Codes and conventions “Good Will Hunting”.

Mise-en-scene
Mise en scene is a French word and it means ‘everything within the frame’. In order to analyse and understand mise-en-scene:
  • Set Design (production design elements)
  • Costume (costume design and hair/make up)
  • Props (production design elements)
  • Staging and Composition (how is actors placed)
  • Setting and location -( look and feel)
 Video: ten films with excellent use of colour - from props to costume and set design to lighting. Worth a look.
TEXT BOOK WORK:
Dunscombee (et.al), 2018, Heineman Media,Pearson Australia, p.179 specifically 
Mise-en-scene section. 

Thomas Caldwell, 2017, Film Analysis HandBook, 2ndEdition, Insight Publications, Victoria, Australia

ESSENTIAL Activity 1.11: 
“Choose a scene from film narrative- discuss how mise-en-scene develops plot, character and narrative?

EXAMPLES: BATMAN (1989) AND MARY POPPINS (1964)
SUGGESTIONS: LA CONFIDENTIAL (1997), THE DRESSMAKER (2015), STAR WARS (1977), HARRY POTTER (2003), VERTIGO (1958)

QUESTIONS:
Essential Activity or assessment questions: 
What clip for 3 films and pick one and answer question:
  • What does the setting say about certain characters? How are props used to reveal aspects of their personality?
  • What effects are created in a scene, and what is their purpose?
  • ​What does the setting say about certain characters? How are props used to reveal aspects of their personality?
  • What effects are created in a scene, and what is their purpose?
  • How does the film attempt to achieve its goal by the way it looks, and does it succeed?



​Batman (1989)

Mary Poppins (1964)

Vertigo (1958)

CASE STUDY: PRODUCTION DESIGNERS ROLE

FILM AND TV has the production designer as head of art department. They are responsible for the overall look of a film. Including the props, set designs, works with costume designer. 
Two designers are below: Rick Carter (Star Wars) and Stuart Craig (Harry Potter):
rick_carter_production_designer.pdf
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stuart_craig_production_designer.pdf
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hitchcocks_vertigo_-_key_critical_approa.pdf
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Thomas Caldwell, 2017, Film Analysis HandBook, 2ndEdition, Insight Publications, Victoria, Australia chapter 2, page 30-36

Editing - shot by shot relationship

The editing is a silent process, when we watch a film we see shots sequenced together that seem effortless. The responsibility of pacing, timing, sequencing to tell a story is the role of the editor. And is part of what contribute "cinematic language". The sequencing of shots together to make meaning.
The types of editing and terms used to describe editing include:

1. cut 
A visual transition created in editing in which one shot is instantaneously replaced on screen by another. 
​
2. continuity editing
Editing that creates action that flows smoothly across shots and scenes without jarring visual inconsistencies. Establishes a sense of story for the viewer. 

3. cross cutting
Cutting back and forth quickly between two or more lines of action, indicating they are happening simultaneously. 

4. dissolve 
A gradual scene transition. The editor overlaps the end of one shot with the beginning of the next one. 

5. fade 
A visual transition between shots or scenes that appears on screen as a brief interval with no picture. The editor fades one shot to black and then fades in the next. Often used to indicate a change in time and place. 

6. jump cut 
A cut that creates a lack of continuity by leaving out parts of the action. 

7. matched cut 
A cut joining two shots whose compositional elements match, helping to establish strong continuity of action. 

8. montage 
Scenes whose emotional impact and visual design are achieved through the editing together of many brief shots. 
TEXTBOOK WORK
C. Steward and A. Kowaltzke, 2008, Media: New ways and meanings (3rd Edition), John Wiley and sons Australia Lty Ltd. Page 21
Page 25
Concept of montage and shot by shot explained
Classic continuity editing is explained


Thomas Caldwell, 2017, Film Analysis HandBook, 2nd Edition, Insight Publications, Victoria, Australia
Chapter 4: editing – breaking down cuts, wipes, transitions and the “language of editing”.

Gangs of New York (2002)

The Fifth Element (1997)

Sound Design and Music Composition

Elements of Sound Design and Music Composition enhance the storytelling. It can heighten the experience for the audience - signals to think and feel a specific way. In a horror film , sci-fi or fantasy film these signals are set of conventions we become expected to hear. The theme of the bad guys, or the romantic moment. It adds to the viewing experiences by tapping into the emotion and experience of the characters within the story.
​The elements of sound design are:.
  1. Dialogue
  2. Sound Effects 
  3. Music
  4. Silence

Music composition - Star Wars (1977)

STAR WARS (1977) CASE STUDY ARTICLE:
 John Williams’ scores, Star Wars (1977), the film that started it all, introduced a handful of themes, most of which recur in the Star Wars hexology of films.  I have already posted about the musical structure of the Force theme, in the film music analysis that follows, I will focus on the theme’s meanings and usage throughout the six films.
Associations and MeaningsPinning down one specific meaning for the Force theme is an elusive task since its association is much broader than the typical leitmotif. Although it is associated with the “good guys”, it does not have a single, consistent association, but instead can signify four interrelated concepts:
  • Character – Obi-Wan / the Jedi
  • The Force – or Becoming a Jedi
  • Struggle – of the Jedi / Good Guys
  • Victory – of the Jedi / Good Guys
The character function of the theme is most evident in the first film

Sourced : Celebrating Star Wars Themes: Uses of the Force ThemePosted on November 8, 2015 by Mark Richards

Case Study: AnnIe Breslin Sound Designer

"Every sound can hold a meaning.”Lights Film School -  entrepreneur and former sound designer Tasos Frantzolas, CEO of Soundsnap. 

Soundsnap is a preeminent online sound library featuring high-quality sound effects and loops from Hollywood sound designers and music producers.
Independent filmmakers can find and license royalty-free assets on Soundsnap, from general ambiences to specific effects – useful when you don’t have the tools or means to create certain sounds on your own.
For an introduction to the world of sound design as well as Tasos’ TED Talk, “Everything You Hear on Film Is a Lie”.

TEXTBOOK:
C. Steward and A. Kowaltzke, 2008, Media: New ways and meanings (3rd Edition), John Wiley and sons Australia Lty Ltd. 
Page 25


​
ESSENTIAL ACTIVITY:
Describe how the relationship between sound, music, image and story interacts to create meaning.
Activity: Analyse an action sequence and relay how sound and soundtrack enhance the story elements.
GANGS OF NEW YORK AS EXAMPLE.
​

END OF TOPIC 1
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