{"id":11534,"date":"2014-07-18T09:56:50","date_gmt":"2014-07-18T13:56:50","guid":{"rendered":"https:\/\/www.frankwbaker.com\/mlc\/?page_id=11534"},"modified":"2023-12-07T10:08:52","modified_gmt":"2023-12-07T15:08:52","slug":"mockingbird-camera-shots","status":"publish","type":"post","link":"https:\/\/www.frankwbaker.com\/mlc\/mockingbird-camera-shots\/","title":{"rendered":"To Kill A Mockingbird: Camera Shots \/ Cinematography"},"content":{"rendered":"

TO KILL A MOCKINGBIRD:\u00a0SEEING THE FILM THROUGH THE\u00a0LENS OF MEDIA LITERACY<\/h3>\n

\u00a9 2006 Frank Baker<\/em><\/p>\n

Download this page<\/a> as an Adobe (pdf) document<\/p>\n

CAMERA SHOTS<\/strong>\/CINEMATOGRAPHY<\/strong>
\n<\/strong>The exact shot framed by the cinematographer can communicate many things to the viewing audience.\u00a0 (TKAM cinematographer\u00a0Russell Harlan was nominated for an Academy Award in the category “Best Black-and-White Cinematography” for his work\u00a0on this film.) The framing of a particular shot can communicate power or weakness, for example.<\/p>\n

Other considerations-
\nStudents could also notice:<\/p>\n

– high and low angle shots<\/p>\n

– when the camera moves and why<\/p>\n

– the distance between camera and actor or action.<\/p>\n

“Often a low angle reinforces the sense that the subject is large
\nor dominant or imposing or powerful, but not always.”<\/p>\n

With the camera low-shooting UP<\/strong>– it gives the audience the impression that someone is larger, towering, more important or powerful<\/p>\n

“Often a low angle reinforces the sense that the subject is large
\nor dominant or imposing or powerful, but not always.”1<\/p>\n

With the camera high-shooting DOWN<\/strong>– it gives the audience the impression that someone is smaller, less significant, helpless, or vulnerable<\/p>\n

“…a high angle does not always make the subject(s) seem small,<\/p>\n

vulnerable, or weak, though in many contexts it does.” 1<\/p>\n

Close Ups<\/strong> (primarily faces, signify intimacy)<\/strong>2<\/p>\n

 <\/p>\n\n\n\n
\n

\"\"<\/span><\/p>\n<\/td>\n

\"\"<\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

Images above from TCM Essentials website<\/p>\n

 <\/p>\n

Medium Shots (most of body, personal relationship)<\/strong>2<\/p>\n\n\n\n
\n

\"\"<\/span><\/p>\n<\/td>\n

\n

\"\"<\/span><\/p>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

Wide\/Long\/Establishing Shots<\/strong>
\n(setting & characters; context, scope, public distance)<\/strong>2<\/p>\n\n\n\n
\n

\"\"<\/span><\/p>\n<\/td>\n

\n

\"\"<\/span><\/p>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

Grammar of Television<\/strong> (Berger) can also be applied to film 3<\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
Signifier (shot)<\/strong><\/td>\nDefinition<\/strong><\/td>\nSignified<\/strong><\/td>\n<\/tr>\n
close-up<\/td>\nface only<\/td>\nintimacy<\/td>\n<\/tr>\n
medium shot<\/td>\nmost of the body<\/td>\npersonal relationship<\/td>\n<\/tr>\n
long shot<\/td>\nsetting & characters<\/td>\ncontext, scope, public distance<\/td>\n<\/tr>\n
full shot<\/td>\nfull body of person<\/td>\nsocial relationship<\/td>\n<\/tr>\n
pan down<\/td>\ncamera looks down<\/td>\npower, authority<\/td>\n<\/tr>\n
pan up<\/td>\ncamera looks up<\/td>\nsmallness, weakness<\/td>\n<\/tr>\n
zoom in<\/td>\ncamera moves in<\/td>\nobservation, focus<\/td>\n<\/tr>\n
fade in<\/td>\nimage appears on blank screen<\/td>\nbeginning<\/td>\n<\/tr>\n
fade out<\/td>\nimage screen goes blank<\/td>\nending<\/td>\n<\/tr>\n
cut<\/td>\nswitch from one image to another<\/td>\nsimultaneity, excitement<\/td>\n<\/tr>\n
wipe<\/td>\nimage wiped off screen<\/td>\nimposed<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

\u00a0<\/a><\/strong><\/p>\n\n\n\n
Learn more about camera shots, focus, lighting and other techniques in the text:
\nReading<\/em> In The Dark, Using Film As A Tool in the English Classroom<\/em>, by John Golden,
\npublished by NCTE<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

Recommended Links
\n<\/strong>Camera shots<\/a>
\n<\/strong>Film Language: Use of the Camera
\n<\/a>The Grammar of TV & Film
\n<\/a>Making Movies Make Sense: Framing<\/a>
\nSeeing Through the Image: Cinematography<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

TO KILL A MOCKINGBIRD: SEEING THE FILM THROUGH THE LENS OF MEDIA…<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_seopress_robots_primary_cat":"","_seopress_titles_title":"","_seopress_titles_desc":"","_seopress_robots_index":"","footnotes":""},"categories":[202],"tags":[],"class_list":{"0":"post-11534","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-to-kill-a-mockingbird-popular"},"_links":{"self":[{"href":"https:\/\/www.frankwbaker.com\/mlc\/wp-json\/wp\/v2\/posts\/11534","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.frankwbaker.com\/mlc\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.frankwbaker.com\/mlc\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.frankwbaker.com\/mlc\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.frankwbaker.com\/mlc\/wp-json\/wp\/v2\/comments?post=11534"}],"version-history":[{"count":1,"href":"https:\/\/www.frankwbaker.com\/mlc\/wp-json\/wp\/v2\/posts\/11534\/revisions"}],"predecessor-version":[{"id":36914,"href":"https:\/\/www.frankwbaker.com\/mlc\/wp-json\/wp\/v2\/posts\/11534\/revisions\/36914"}],"wp:attachment":[{"href":"https:\/\/www.frankwbaker.com\/mlc\/wp-json\/wp\/v2\/media?parent=11534"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.frankwbaker.com\/mlc\/wp-json\/wp\/v2\/categories?post=11534"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.frankwbaker.com\/mlc\/wp-json\/wp\/v2\/tags?post=11534"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}