Simple Shots Anaylize: American Beauty 1999 (Sexual Fantasy in stadium)

Very long shot(VLS): It is applied in opening sequences, where the figure and its movement are of near equal importance as the background. Used widely where recognition of the individual person.



Medium Shot(MS):Attention is clearly drawn to the figure ratherthan the background. This is because the subject's eyes can be fully seen and therefore the eyeline of the subject draws the attentationof the audience. Eye movement can be clearly seen. the approximate age of the person can be determined.





Close up(CU): Framing the shot without a part of the shoulder showing. this has the effect of the subject appearing to be dismembered from their body. The attention of the viewer is drawn to the foreground only, focus on the subject's eyes and mouth. Skin colour and texture can be clearly seen.Eyes at this stage are either condition.



Medium long shot(MLS):In this shot the subject is framed with headroom and is cut with the lower frame either above or below the knee. The choice, above or below the knee, depends upon the sex and the clothing of the subject and the speed of the movement. Facial changed can be seen, but not detailed.





Big close-up (BCU): The upper frame cuts the subject's brow.Skin texture can clearly be seen,eyebrow hair becomes predominant, as do eyelines. Any face movemomt on this shot is consequently overemphasised because it becomes unrealistic on screen. this shot is so close that it can only be used in situation of emotion, such as a love scene or an aggressive scene.







Long shot(LS):The subject with headroom and footroom covers the entire frame from top to bottom. The clothing is more recognisable as is gender. And this shot often use with a moving person, e.g. a subject running, walking, moving hands etc.
No significant loss due to domestic cut-off. The position of the figure in the frame, screen right or left, is critial to allow for body movement.



Extreme long shot(XLS or ELS )The subject is so small in the frame that it is totally unrecognisable. the figure is less than one-sixth of the height of the frame. it is possible to tellif the subject is human, but not possible to tell if the subject is male or female. The XLS can conveyatmosphere and enviroment.



Extreme close-up(XCU or ECU): The framing of this shot concentrates on one or sometimes two features; eyes or eyes and nose, nose and mouth or mouth alone. Emphasis on the eyes clearly shows the colour. eye movement is enormous.

How do we see ? What do we see?

In order to avoid the image tends to plane, often rich of their images. So at least take into account foreground, middleground, background three levels.

This technique not only gives images depth, also dominated the focus dramatically change the contrast to give implicit images or obvious features.


What lens to capture what the subject is also the dominant, the most basic and most important mission. The space of the frame will affect the things we are being proactive response.

In the movie, space is an important medium of communication. Space tells us that the role of psychological and social relations.

Characters usually have more space - unless the film to talk about is his inability to lose power or to the society.

However, the amount of space is not necessarily the role of social status on his behalf, the main importance lies in his plays.

2046

Rear Window 1954

The film, directed by Alfred Hitchcock 1954.

A screen reader in sexuality

The cinema offers a number of possible pleasures. One is scopophilia. There are some circumstances in which looking itself is a source of pleasure, just as, in the reverse formation.
At first glance, the cinema would seem to be remote from the undercover world of the surreptitious observation of an unknowing and unwilling victim. What is seen of the screen is so manifestly shown. But the mass of mainstream film, and the conventions within which unwinds magically, indifferent to the presence of the audience, producting for them a sense of separation and playing on their voyeuristic phantasy. Moreover, the extreme contrast between the darkness in the auditorium (which also isolates the spectators from one another) and the brilliance of the shiftingpatterns of light and shade on the screen helps to promote the illusion of voyeuristic separation. Alought the film is really being shown, is there to be seen conditions of screening and narrative conventions give the spectator an illusion of looking in on a private world, Among other things, the position of the spectators in the cinema is blatantly one of repression of their eshibitionism and projecton of the repressed desire on to the performer.


The cinema satisfies a primordial wish for pleasurable looking, but it also goes further, developing scopophilia in its narcissistic aspect. The conventions of mainstream film focus attention on the human form. Scale, space , stories are all anthropomorphic. Here curiosity and the wish to look intermingle with a fascination with likeness and recognition: the human face, the human body, the relationship between the human form and its surroundings, the visible presence of the person in the world.

American Beauty 1999

The film, directed by Sam Mendes.

There is a tragic atmosphere around in this inharmonious American middle-class family. Truly pure love and reality, becomes the biggest contrast. Not to mention the intention to embellishment, but as the start and end of the same-sex love. Use a form of violence, cruelty, and struggling to confuse the balance of the world may seem dull.


In a world ordered by sexual imbalance, pleasure in looking has been spilit between active/male and passive /female. The determining male gaze projects its phantasy on to the female figure which is styled accordingly. In their traditional exhibitionist role women are simultaneously looked at and displayed, with their appearance coded for strong visual and erotic impact so that they can be said to connote to-be looked-at-ness.

cinema paradiso ( cinema power)

The film, directed by Giuseppe Tornatore.