cinematography

noun:

the art of photography and camerawork in film-making.

“home movie footage with superb cinematography”

(source – google dictionary (in association with Oxford Languages))

cinematographer

noun: 

a person who oversees or directs photography and camerawork in film-making, especially one who operates the camera.

“the film has been shot by an award-winning cinematographer”

(source – google dictionary (in association with Oxford Languages))

DEFINITIONS OF EACH OF THE SPECTRUMS OF THE ARTS:

THE PERFORMING ARTS

These can be defined in the sense that they are happening in real or present time. They can be observed and taken in as a ‘real occurrence’ in front of the viewer, or perhaps only once and cannot be replicated.

THE RECORDING ARTS

These are any form of art which is not created in the present but rather has been articulated in the past and is a compact form of content which can be replayed or re-used multiple times. These forms of art give a unique perspective to viewers and are mostly for individual interpretation as they do not give a totally biased or clear message. Arguably giving a more ‘direct path between subject and observer’.

THE REPRESENTATIONAL ARTS

The criterion for this spectrum of the arts is to be dependent upon specific language or bias in the form of an artistic messenger (the ‘codes and conventions of language’). Representational arts require a medium through which a message is portrayed that is extremely personal and usually does not need input from anyone other than the original artist (i.e. poems or paintings which have been done by one person).

EXAMPLES OF EACH OF THE SPECTRUMS OF THE ARTS:

THE PERFORMING ARTS:

PLAYS OR LIVE SHOWS, E.G. MACBETH ‘THE LIVE PLAY’ AT THE HATFORD THEATER

THE RECORDING ARTS:

FILMS AND RECORDED SONGS OR TV SHOWS, E.G. THE TRUMAN SHOW (PETER WEIR, 1998)

THE REPRESENTATIONAL ARTS:

FORMS OF LITERATURE OR PHYSICAL ART, E.G. ‘THE TYGER’ (WILLIAM BLAKE)

Mise-en-scene is an umbrella term in filmmaking which relates to many aspects in the pre, post and production of a film.

Wes Anderson, a director whose unique utilisation of symmetry in set design and precision in the colour scheme of costumes and props, could be said to present multiple examples of successful mise-en-scene in the 2014 film ‘The Grand Budapest Hotel’.

As a first example, the use of colour symmetry in set design and wardrobe is prominent throughout the movie, and it seems that the director utilises warmer tones to convey a light-hearted atmosphere as there is a mostly comedic air. Period accuracy cannot be measured due to no label upon when the story is set. However,  Anderson consistently references a very significant and identifiable style, one reminiscent of the era ranging from the early nineteenth to mid twentieth century. In the second still below this paragraph, Ralph Fiennes’ character is pictured in a concierge suit relative to the dressage of the centuries. Materials like velvet and the distinctly beige-coloured modestly lengthy coat Saoirse Ronan’s character can be seen sporting are bold choices in costuming which do not fail to remind viewers that Wes Anderson chooses not to specific a year in which the film is set, but rather has such faith in set design and character clothing choices which can almost fulfil the same purpose.

Space is an essential tool to show an audience where their attention should be focused. The Grand Budapest Hotel features one scene in particular which utilises this particularly efficiently in my opinion. In the below scene, two characters are pictured out of centre despite being the only subjects in the frame. This – especially being shot by a director so notoriously bound to symmetry – indicates a certain meaning or presentation. In this case, a means of foreshadowing later events which should unfold. Mise-en-scene in the form of setting up shots or scenes focusing on subjects which don’t meet the usual criteria of the film – those levels between characters (as seen below) or situation of focus in the frame can alone connote to something meaningful or essential in the story. Simply because they are created to be different to other things to which the audience will have become accustomed. Lighting is a catalyst due to the fact that the sharp contrast of the beamed lights draw focus to the darkness in the room which also consists of the characters’ cool-toned suits. An uncanny contradiction in itself.

The above still is a perfect example of Anderson’s recognition of the importance of composition as an aspect of filmmaking. Rather than relying on dialogue for exposition as is common; this shot centres on Edward Norton’s subject, around whom the backlot delivers information in the form of paintings and maps on an almost crammed pin board (perhaps to denote to an unhealthily untidy obsession). Famously, the show-not-tell method of informing audiences is a respected method of creative story-crafting; and the fact that Norton’s subject remains central in the frame conveys the subtlety of the exposition itself as a result of careful composition. Once again a monochrome colouring is used to enlighten the audience of the character being introduced without the use of dialogue or text.

Another example of the uses of colour and space can be seen below. Contrasting to the light and warm tone utilised to portray a soft atmosphere, Anderson once again merely relies on a much darker colour scheme with relation to costumes to allow the interpretation of transferral into a more serious or dramatic atmosphere. A drastic use of proximity which separates the central subject from background characters foreshadows his importance in future storylines; without dedicating a large amount of unnecessary expositional time to him when he – as a character – is not yet a main antagonist.

A form of eliminating sub-plots which are not relevant at a certain time during the film, mise-en-scene could be seen to be an efficient plot device.

Mise-en-scene is generally defined as the staging of a film scene or sequence. It is composed of the set design, costume design and make up and hair choice, lighting, the composition or arrangement of props, use of spacing and proximity, the film stock and aspect ratio and the set design collectively.

Most of the highest ranked films have a large cult following which can apply to multiple demographics. As well as a high budget, an inclusion of renowned actors; and a large portion are part of a series of franchise. A big fraction could be classed as action or animated family films which hold nostalgic value or are accessible in the sense that they are predictable; and fall under the same universe or storyline which has been known to create profit in the past with fans. An original soundtrack is also a theme, and this can help attract attention to ‘non-film-watchers’.

Knowledgeable – You might have to know about specific micro or macro elements to apply them to an analysis or a practical filming opportunity.

Risk-takers – To excel in a creative subject, being bold or trying something that has not been done can be crucial. Because creativity is essentially thinking outside of the box, taking a risk can be a form of art.

Principled – Having strong values can give you impactful ideas to attempt to put across through film. It may help you feel passionate and see hidden messages which relate to your own morals.

Balanced – Being able to view every genre or style of film objectively and in an unbiased way could be a useful tool. Balancing the types of media you consume can improve your own knowledge.

Communicators – When crafting your own film or story with a group, being able to articulate your visions in the form of strong communication could aid the process.

Reflective – Attempting to recognise when a creative choice has had a positive effect can improve work in the future. Just as being able to see something which has hindered your work can.

Caring – Being compassionate, both towards any peers on a ‘team’, or about the subject you may be analysing or handling in your own filmmaking could be a key aspect.

Inquirers – Looking into any subjects or ‘real-life’ characters you choose to include or analyse can improve the maturity with which you approach filmmaking.

UNCUT GEMS (directed by the Safdie Brothers)

Of course, whether or not a film is good is subjective, however it is arguable that some ‘well-respected’ films display similar traits – most of which come under the efficient ‘micro and macro’ aspects of filmmaking.

Uncut Gems, a film released in 2019 under the genres: crime, drama and thriller on the IMDb website; is a perfect example of a well-made film in this context. The film follows a flawed protagonist ‘Howard Ratner’, as he essentially throws his life away as well as his family’s money and legacy.

Portrayed through an almost first-person narrative, the film seems less like an objective view of Howard’s life but rather a second lens of his own; this could be interpreted via the cinematography and editing: continuous shots used multiple times throughout which focus the main character in the centre of the frame. As a result of many shots which linger on Howard from the same perspective – without cuts – the pace of the film is enhanced. It is a sort of illusion for the audience who may feel like the timeline is relative to real life because of the lack of intense or rapid cuts to include more action or characters. Another important result of this is the connection created between the viewer and the protagonist, (arguable) as there is a clear bias in events which are almost all presented as fragments of his life. The style of the film appears to be a character study – character based, rather than one which would rely heavily on plot.

Sound is used in a subtle yet influential manner consistently; the original score which is mainly made up of electronic music could be a symbol for the inevitable downfall of Howard and his own sanity and confidence in himself and his decisions. It increases in intensity and volume as the film continues and as the protagonist finds himself deeper in his own ‘mess’. Additionally, the blue hue used in a similarly increasing state on screen represents the potential loss of emotions or ‘morals’ themselves as this downward spiral occurs. This and the aforementioned aspect of the film editing is a perfectly in sync accomplice to Adam Sandler’s chilling acting, that which gives a window into the appearance of a ‘regular man’ who is knowingly ruining his life, without knowing how to amend it.

The Safdie brothers successfully use symmetry by keeping Howard Ratner centre frame often with the aid of inanimate objects on set. On occasion, levels can be seen to represent the protagonist’s mental state or ‘power’ over his own destructive personality. Combinations of specific low camera angles partnered with props placed below Sandler could be interpreted as allegories of power; in the opposite manner, higher camera angles and higher placed or ‘grander’ surrounding props or elements of set could present lack of control or the beginning of a setback.

Morality would probably be the main theme of this film; and I would argue that the main message it is attempting to put across is that of a moral and ‘actions have consequences’ nature. Being a popular message to portray in any kind of art, the way in which Uncut Gems presents it is quite unique and impactful. An attachment is formed to Howard Ratner who is introduced as the main character due to the style of cinematography which centres long shots around him and his relationships. He is a stereotypical protagonist; he has made mistakes which need to be corrected for him to achieve happiness, which he is portrayed as wanting more than anything else (to convince the audience of his morality). Scenes follow his mistakes and bad decisions at every turn, and yet each time we witness his regret and guilt and human emotion. Howard is a relatable character because he has ‘good intentions’ but is flawed in everyday life and tasks. He is therefore an easy protagonist for the majority of viewers who can relate to the feeling or yearning of goodness despite not being able to ever reach their own goals. As a result, the Safdie brothers can successfully use Ratner as an emotionally attached final message. Howard’s life ends in sync with the ending of the film, as he spirals downwards and becomes the inevitable victim of his bad decisions in life. Rather than just choosing to allow Ratner to have the life he has not truly earned, (though he ‘deserves it’) the choice to give him an unhappy or disappointing ending is a much more efficient way of showing a connected audience a message. The audience, who root for the flawed and relatable protagonist; see that although he is not necessarily a ‘bad’ person, he must still pay for his own mistakes. The Safdie brothers are arguably trying to show that life has no bias, nor any knowledge of your past or intentions; and that actions have consequences, regardless of who in particular you may be.