Download Film And Television In Education: An Aesthetic Approach To by Robert Watson PDF

By Robert Watson

Until eventually lately movie has been impractical and dear to coach, yet tv and video have supplied unparalleled possibilities. not just is it changing into attainable for everybody to use a library of flicks on video, subjecting them to shut evaluative examine, but additionally, with the expanding availability of video cameras in faculties and faculties, it really is turning into attainable for everybody to profit the language of this richly expressive shape through the use of it. via an engaged research of the beginnings of movie, the character of expression, the conventions of movie and tv, the advance of narrative, and smooth movie theories, Robert Watson offers a cultured framework for movie examine which has implications and diverse feedback for sensible inventive paintings.

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Extra info for Film And Television In Education: An Aesthetic Approach To The Moving Image (Falmer Press Library on Aesthetic Education)

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Which other shots in this sequence could be rearranged, or used more than once? ii Reading the frames—the importance of camera-to-subject position. 1 (another example would be a shot of the approaching road taken from inside the car, perhaps over the driver’s shoulder). Students will throw out most of these ideas, and more, very quickly, so that the blackboard soon accumulates enough sketchy material for the standard camera positions to be named and seen to emerge from a language already familiar.

If, as the pattern of repetition suggests, we start this new shot on the man, then the next shot is really a continuation—we just stay on him where he falls. Any alternative requires a change of camera position and, possibly, a multiplication of shots of shorter duration, which might well affect the temporal sequence in relation to story time. If we cut from the car to a close-up of the man’s face—turning, realizing he is about to be hit—then we’ll still need something more before we can cut to his prostrate body.

1, each long shot being replaced by a close-up— the alternating pattern of subjects stays the same, but the visual impact is quite different. The selection of significant dramatic detail literally brings the viewer closer, within the larger action of the sequence, which is no longer so clearly visible, perhaps, but is experienced rather than observed. As a general rule, long shots allow greater detachment while close-ups encourage involvement. i Camera positions—the visual impact of the close-up.

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