Re-establishing Shot

Once a scene has progressed for a while with shot/reverse shot showing the charcters in close-up, a re-establishing shot, which is a return to a long shot (establishing shot) of the overall space, re-orientates the viewer into the scene.

Continuity Editing

Designed to make the fragments of film knit together invisibly and coherently so that the viewer understands the action and is not disrupted by the changes from one shot to the next.

The following are elements of continuity editing:
- The 180 Degree Rule
- The Establishing Shot
- Shot/Reverse Shot
- Eye-line Matching
- Matching on Action
- Re-establishing Shot

THE 180 DEGREE RULE - 'The axis of action' is the term used to describe an imaginary straight line drawn between protagonists in a scene. The camera position is planned around this lone. The purpose of the 180 degree rule is to ensure spatial continuity so that the viewer understands the overall space in which the action takes place and to maintain consistency of screen direction.

THE ESTABLISHING SHOT - In the continuity system a scene will start with an establishing shot, which is a long shot showing the overall space in which the scene is to take place.

SHOT/REVERSE SHOT - Conservation between characters is usually presented using a shot/reverse shot, sometimes called an over the shoulder shot because the shoulder of one character is often within the frame.

EYE-LINE MATCHING - This is where the first shot shows a character looking off screen at something/someone and the second shot shows the object/character being looked at from the first character's point of view. This ensures that even if characters are not in frame together we are sure of their whereabouts.

MATCHING ON ACTION - The first shot might show a character starting to walk across the room, the second shows the same character arriving at the other side of the room. The middle part has been cut out but continuity is maintained because the action is consistent.

Editing and Sound

One of the ways in which a film-maker can minimise the fragmentary nature of film is to use sound to provide continuity from one shot to the next. The images might frequently change but they can be connected by a musical score that has the effect of knitting the shots together into a scene or sequence.

DIEGETIC SOUND - Sound in the film that the characters can hear/make

NON-DIEGETIC SOUND - Sound that only the audience can hear

Editing

MATCHING - The relationship between shots can be clarified if shots are matched according to action, subject, or subject matter. Match cutting ensures that there is a spatial-visual logic between the differently positioned shots within a scene.

GRAPHIC MATCHING - The involves a smooth visual transfer from one shot to the next. For example in 'Schindlers List' (a film about the holocaust), the film opens with a modern day celebration of Jewish passover, as the ceremonial candles burn out, the smoke signal dissolves into smoke from a train taking jews to the concentration camps highlighting the start of the holocaust.

COMPLICATION SHOTS - This is the term used to describe a series of shots spliced together to give a quick impression of a place.  For example, the opening of 'The Breakfast Club' uses a complication sequence of shots to establish the school to the audience.

MONTAGE - A rapid succession of shots juxtaposing images so that the overall effect is greater than the individual parts. For example, the training montage from 'Rocky'

Three Point Lighting

Three-point lighting is a standard method used in visual media such as video, film, still photography and computer-generated imagery. By using three separate positions, the photographer can illuminate the shot's subject (such as a person) however desired, while also controlling (or eliminating entirely) the shading and shadows produced by direct lighting.

The key light, as the name suggests, shines directly upon the subject and serves as its principal illuminator; more than anything else, the strength, color and angle of the key determines the shot's overall lighting design.

In indoor shots, the key is commonly a specialized lamp, or a camera's flash. In outdoor daytime shots, the Sun often serves as the key light. In this case, of course, the photographer cannot set the light in the exact position he or she wants, so instead arranges it to best capture the sunlight, perhaps after waiting for the sun to position itself just right.

The fill light also shines on the subject, but from a side angle relative to the key and is often placed at a lower position than the key (about at the level of the subject's face). It balances the key by illuminating shaded surfaces, and lessening or eliminating chiaroscuro effects, such as the shadow cast by a person's nose upon the rest of the face. It is usually softer and less bright than the key light (up to half), and more to a flood. Not using a fill at all can result in stark contrasts (due to shadows) across the subject's surface, depending upon the key light's harshness. Sometimes, as in low-key lighting, this is a deliberate effect, but shots intended to look more natural and less stylistic require a fill.

In some situations a photographer can use a reflector (such as a piece of white cardstock mounted off-camera, or even a white-painted wall) as a fill light instead of an actual lamp. Reflecting and redirecting the key light's rays back upon the subject from a different angle can cause a softer, subtler effect than using another lamp.

The back light (a.k.a. the rim, hair, or shoulder light) shines on the subject from behind, often (but not necessarily) to one side or the other. It gives the subject a rim of light, serving to separate the subject from the background and highlighting contours.

Back light or rim light is different from a kick in that a kick (or kicker) contributes to a portion of the shading on the visible surface of the subject, while a rim light only creates a thin outline around the subject without necessarily hitting the front (visible) surface of the subject at all.

Mise en Scene

Props 

An important element of "putting in the scene" is décor, the objects contained in and the setting of a scene. Décor can be used to amplify character emotion or the dominant mood of a film.

Lighting 

The intensity, direction, and quality of lighting have a profound effect on the way an image is perceived. Light (and shade) can emphasise texture, shape, distance, mood, time of day or night, season, glamour; it affects the way colors are rendered, both in terms of hue and depth, and can focus attention on particular elements of the composition.

Space 

The representation of space affects the reading of a film. Depth, proximity, size and proportions of the places and objects in a film can be manipulated through camera placement and lenses, lighting, decor, effectively determining mood or relationships between elements in the story world.

Costume 

Costume simply refers to the clothes that characters wear. Using certain colors or designs, costumes in narrative cinema is used to signify characters or to make clear distinctions between characters.

Acting 

There is enormous historical and cultural variation in performance styles in the cinema. Early melodramatic styles, clearly indebted to the 19th century theater, gave way in Western cinema to a relatively naturalistic style.

Semiotic Comparison

The clip I am analysing from ‘Braveheart’ is in the middle of the film. The scene is the main character, William Wallace, performing an inspirational speech to his army before an epic battle against the English.  Similar to ‘Braveheart’, the clip I am analysing from ‘Lord of the Rings’ is also a scene which involves an inspirational speech. This time it is performed by the character of Aragorn who is preparing his army for battle against an evil and frightening opposition. I will do a semiotic comparison of the two clips/films using the key aspects of mise en scene.

Firstly, the setting in ‘Braveheart’ is the rural fields and hills of Scotland, which is used as a battlefield in the instance. The rural and aesthetically pleasing scenery suggests that Scotland is a rather peaceful place surrounded by tranquillity. However, a gruesome battle is taking place on this land which can be described as binary opposition as you wouldn’t usually associate the peaceful innocence of the Scottish countryside with a barbaric blood bath. Similar to ‘Braveheart’, the setting for ‘The Lord of the Rings’ is also used as a battle field.  However, the location is rather dull and gloomy, which is very different to the location in ‘Braveheart’.  This dull and gloomy and environment suggests there is a lack of hope and happiness in this specific location and it’s a place where not very good things take place; which is rather fitting considering a massive battle takes place there causing many deaths.

Secondly, the costumes used in both films are quite similar. In both films the armies are wearing very basic and old fashioned clothes and armour. This suggests that these armies have very little money to buy equipment which could mean that it was from a time period a very long time ago. The basic clothing could also represent how these people cater the bottom of the society and are not considered as upper class.

Another aspect of mise en scene is the facial expressions of the characters. In ‘Braveheart’, the army’s members have very determined facial expressions. This signifies that they are all willing and desperate to fight for the beloved country and are a prepared to sacrifice their lives and safety for the country they call home. Contrastingly, the facial expressions of the army’s members in ‘The Lord of the Rings’ are ones or fear. This suggests that the army is not confident of winning the battle as they already consider themselves as ‘underdogs’ before the battle has even started.

Overall, there are many similarities and differences between the two clips of the films. In my opinion, the most significant similarity is the costume and makeup worn by the characters. The basic clothing signifies that both sets of characters belong at the bottom of society.