Cinematography

What is Cinematography 

How to talk about film

 

Satire

 

Diegetic/non-diegetic Sound

 

blu Kieslowski

 

Ran sources

 http://www.criterionconfessions.com/2010/04/ran-316.html

stillness, silence, hell, redemption

KING LEAR AND CINEMATIC APPROPRIATION: KOZINTSEV'S KOROL LEAR AND KUROSAWA'S RAN

https://harvest.usask.ca/handle/10388/11664

Welles, Kurosawa, Kozintsev, Zeffirelli: Great Shakespeareans: Volume XVII

By Mark Thornton Burnett, Courtney Lehmann, Marguerite Rippy, Ramona Wray

https://books.google.al/books?id=tU0QAgAAQBAJ&pg=PA83&lpg=PA83&dq=kyoami+snake&source=bl&ots=FTk3HzaFMX&sig=ACfU3U0KfLTngk6hN0aakHX24t-gVJa3qg&hl=en&sa=X&ved=2ahUKEwjeldTOoMTwAhUQy4UKHVZ1DCAQ6AEwEXoECAgQAw#v=onepage&q=kyoami%20snake&f=false

Chapter 3 - Wicked Humans and Weeping Buddhas: (Post)humanism and Hell in Kurosawa’s Ran

https://books.google.al/books?id=btGoDwAAQBAJ&pg=PA47&lpg=PA47&dq=Wicked+Humans+and+Weeping+Buddhas&source=bl&ots=NdPVAtWHdt&sig=ACfU3U3MdWmNFPKOq-nd_z1_DsyCoG6Ewg&hl=en&sa=X&ved=2ahUKEwj00OH5kcnwAhVLXRoKHc5eBLoQ6AEwEXoECBQQAw#v=onepage&q=Wicked%20Humans%20and%20Weeping%20Buddhas&f=false

Mise en scene vs mise en shot

 

1. Mise-en-scene is ‘what’ we see 
2. 
   
3. Mise-en-shot is ‘how’ we see it 
4. 
   
5. Many critics and academics now use mise-en-scene as the standard when referring to both concepts and subsequently are dropping the term mise-en-shot. 
6. 
   
7. HOWEVER, understanding these two concepts profoundly improves  film understandings. 
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9. Mise-en-scene components • Set design, costumes, lighting and props

      Mise-en-shot components • Camera position/angle and camera movement, blocking (where things are in the shot and where/how they move)

Mise en scene - the fields, tree, forest, daylight, and the children in white clothing

Mise en shot - the choice of a wide/long shot, the blocking of the characters (Ray in the shadow, Norman in the light, the others running away from the shot), the way the tree separates the frame and is at the forefront

Mise en scene - the grubby apartment, the retro fridge and chairs, the bag on the counter, the dim light as if coming from the window, the blue shirt, the dark suits, the hairstyles, the bag and cup (on the table we can't currently see

Mise en shot - the choice of a wide/long shot: which includes one character moving in the background, a medium close up of another and an eventual close up of a hand of the dominant character. The choice of the director to put the dominant character out of the shot. How light and movement are used to lead us to the cup in the forefront. how the character in the blue shirt is in focus rather than the cup. How he is positioned (blocked) in the middle of the frame and how he is slouched