UNIT 2 FIlm Analysis

LEARNING OBJECTIVES
1. Identify the elements of film for an in-depth involvement with
the art.
2. Apply the elements of film in analysis.
3. Evaluate the different ways of interpreting film.

The accessibility of film has become easier throughout the

century. Therefore, nowadays, such priveledge has allowed us to
enjoy watching various films.

In your opinion, what are the reasons why film is a visual art? Give three reasons.
Use the concepts from the pervious units to give your answers.

1. _________________________________________________________________________
_________________________________________________________________________
2. _________________________________________________________________________
_________________________________________________________________________
3. _________________________________________________________________________
_________________________________________________________________________

Film analysis is one way to give knowledge to the people who

made the film on what aspects should be improved in film.

Before we discuss the ways how to analyze film, let’s first

determine the things we should know about making a film.

Characteristics of Film
1. Films are like novels or short stories. Films tell a story.
2. Film has different genres: romance, historical, detective, thriller, action,
horror, and science fiction.
3. Films can also be sub-grouped: action, comedy, tragedy, dram, western
and war.
4. Films teach more than what we feel to be able to create a special
atmosphere, feeling or emotions.
5. Films give details in sounds, music, lighting, camera angles and editing.

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Elements of Film
Film analysis involves looking into the film content and film forn. Film
content includes what the film is presenting; film form refers to how the is
presented.

Film Information
Title of the film
Year of the film/ release date
Names of actors and actresses
Director
Genre

Genre has a huge influence on the film’s content and form. Though,
film genres are ever expanding.
main genre: romance, historical, detective, thriller, war, horror
science fiction
sub-category: action, comedy, tragedy, drama, western and war

1. Literary design consists of the story ideas and the script. The story ideas
include the characters and their actions in the story, the setting of the story,
the setting of the story, and any background story or subtext.

Setting Plot
Where and when does the story How is the plot structured? How are
take place? the events sequenced?
ü Is it set in the past, present or ü Is there more than one plot?
future? ü Is it linear or chronological or is it
ü Is it set in a realistic or fictional presented using flashbacks?
environment? ü Does it have a clear conclusion or
ü Is the setting consistent from the an ambiguous (open-ended)
start to the end of the story? conclusion?
Conflict
What is the main problem of the protagonist? What is the tension that is the
heart of the film?
ü Is the protagonist facing a problem with himself (internal: man vs.
himself)?
ü Is the protagonist facing a problem with other characters or the
environment (external: man vs. man; man vs. nature)?
Characterization Images
How are the characters described? What are the visual
ü Does the protagonist have a few traits or representation of
many traits? things we see in the
ü Does the protagonist undergo change in or film?
does he remain the same till the end?

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Theme Point of View

What is the universal What is the point of view of the film?
idea or truth that is ü Is the story told by the protagonist, an off-screen
shown in the film? narrator, or none of the characters?

2. Visual design consists of what we see on screen/inside the frame, a very

broad category of components: performance, blocking, lighting, costume,
set, and props. Some of the components are the same with theater; one
difference is on lighting. Below are some lighting techniques used in film.

Lighting: communicates mood, sets the scence and the subject

key lighting
§ the brightest light hitting the front or side part of the subject; the most
prominent light in a frame
fill lighting
§ the light that counters the key light usually at an angle of 60 degrees;
the light that fills in the shadows
back lighting
§ the edge light to the rear portion of the subject to add contour; the light
usually shoots down from a high angle

Source: nofilmschool.com

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brightness or darkness of lighting

high key/soft lighting
§ characterized by heightening the key light and using fill lights generously
to make the scene bright and open
low key/hard lighting
§ characterized by having fewer light source and a lot of shadows with
sharp contrasts between dark and light

Maleficent: Mistress of Evil, 2019

high key/soft lighting
Source: nofilmschool.com

source of lighting
natural lighting
§ using and modifying the natural light such as the sun and the moon that
is already available at the location
motivated lighting
§ using lamps, light bulbs, lanterns or flashlights around the set can be
used to light a scene

The Notebook, 2004

natural lighting
Source: nofilmschool.com

3. Cinematography deals with the choices that are made for the camera –
the placement of the camera toward the subject, the lens choice, the
camera movement. The director can choose from a number of shots to
amplify emotions and movements. Listed next are the basics.

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Camera Frame: how much of the subject is seen in the frame

close up shot
§ subject’s face and/or neck is seen; facial expressions are emphasized
long shot
§ entire subject and set is shown; actor’s space in the setting is focused on
medium shot
§ actor can be seen from the waist up; gestures are emphasized

The Martian, 2015

long shot
Source: studiobinder.com

Camera Angle: where the camera is positioned in reference to the subject

low/superior angle shot
§ subject is filmed from below; subject seems larger and more powerful
high/inferior angle shot
§ subject is filmed from above; subject seems smaller and weaker
eye level angle shot
§ camera is positioned evenly with the subject; neutral perspective

The Empire Strikes Back, 1980

low/superior angle shot
Source: studiobinder.com

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Camera Movement: how the camera follows the subject

pan
§ camera stays stationary, but moves left to right on a fixed point
tilt
§ camera stays stationary, but moves up and down on a fixed point
zoom
§ focus of a stationary camera changes within a shot; making the object
appear closer or farther away
dolly
§ camera moves on a dolly, in a person’s hands, in a helicopter or in
whatever way to follow the subject

Visit this link to see some examples:

https://youtu.be/GbnYBmqBbKA

4. Sound design deals with the sound components, what we hear in the film.
Dialogue editing, sound effects and music contribute to the story.

Sound: where the source of the sound is

diegetic
§ source of the sound is seen within the frame
example: tweeting sound from a bird; the bird is seen in the frame
non-diegetic
§ source of the sound is not seen within the frame
example: tick-tocking sound from a clock; no clock is seen in the frame

5. Editing is the sequencing of the shots in the film. Editors decide on the order
and the duration of the shots, the visual transitions from scene to scene,
and visual effects. Listed below are some of the basics.

Duration: how long a single take is

long take
§ a take wherein the camera rolls for 90 seconds of more depending on
the film
§ gives more time for the audience to take in the scene
short take
§ a take that is fast-paced; a take that shifts to the next quickly
§ creates rapid, energetic feel and can be used to create suspense

Visit this link to see an example of a long take:

https://www.youtube.com/watch?v=h9AEYFYPYTM

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Transition: how a single take is linked to another

cut
§ joining two shots together without any transition effect
fade
§ (out) when the shot on a screen shifts to black, white, or some other
color or (in) when a color shifts to a shot
dissolve
§ when a shot slowly fades away while the next shot fades in

Ten Tools for Reading Film

© Bill Boyd, The Literary Adviser

1 Making predictions
Typical Questions
One of the things we do as readers of any kind of text,
is that we immediately start making predictions about • What do you think this
the content, the message, the audience, the writer’s might be about? (what
aims and so on, and we do this by making inferences makes you think so?)
from the evidence in front of us. • What kind of film do
you think this might
If you are reading a poem, short story or a novel, you be? (what makes you
might talk about the title, the cover, the blurb and the think so?) - this relates
illustrations if there are any. We discuss the sort of text to an increasing
they are about to read. awareness of the
features of genre
We can use the same kinds of activities before viewing • What do you think
a film, and at various points in the text. This can be (character) will do
done using the cover of the DVD, or a trailer, or the next? (what makes you
opening of the film. At key points in the text the Freeze think so?)
Frame, Shots-in-Sequence or Sound & Image tools can • How do you think this
be used to discuss what might happen next, or how it will end? (what makes
might end. As we improve their skills, and become you think so?)
more aware of the conventions of genre and • What do you think
narrative, we become more confident in weighing up might happen in the
likely and unlikely outcomes, and in identifying the sequel? (what makes
textual evidence for our predictions. you think so?)

2 Sound and image particularly music – can soundtrack often carries

set the mood of a text, it a huge amount of
Sound is a fundamental can signify genre, and it narrative information,
element of moving image can often be more absorbed subliminally by
texts, and one whose powerful than the visual the viewer/listener.
significance is often images. In addition to its Sound can affect not
overlooked. Sound – emotive force, the only the way viewers

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interpret the images and • and image in moving

how they feel about story image texts.
events, but also what they •
think they actually see. • Cover or blank out the Typical Questions
screen and ask yourself • How would you
Things to keep in mind to listen carefully (for a describe this music?
A soundtrack can have one few minutes only) to the • How would the
or more of four elements – soundtrack of a moving sequence be
music, sound effects, voice image text, writing down affected if it was a
and silence. exactly what you hear. different kind of
You can then discuss music?
• Sound effects are of two what ‘type’ of text it • What can you tell
types – atmosphere might be before about the speakers
(continuous sound) or ‘spot watching: from their voices?
effects’ (short sounds). • When/where is it set? accent? tone?
• (day/night? • Do the sound
• Silence can be used to past/present/future?) transitions in the
create tension or to slow the• Who’s in it? (gender? sequence match the
pace. age?) shot transitions? (In
• What’s happening? drama they may
Techniques• What are they doing? anticipate them,
A number of techniques can• What is the mood/tone? heightening the
be used to develop an (comedy/tragedy?) suspense)
understanding of the • How will it end?
relationship between sound (happily/sadly?)

• This exercise can also work effectively in reverse by playing a sequence without the
sound, and asking yourself to suggest, or create, a suitable soundtrack.
3 Freeze frame
Typical Questions
Using the pause button on the • What or who can you see in this shot? What
media player allows us to focus difference would it make if it were
on particular shots in the text composed differently?
(and also to appreciate that • Where is the camera in this shot?
each shot is made up of a series • Does it move or is it fixed?
of still images). By examining • What impression does that create?
such things as the angle, • What can you tell about the time and setting
distance and movement of the from the colour in this shot?
camera, and the use of lighting • What can you tell about the characters from
and colour, we can learn how the background or setting?
every element of a visual image • What can you tell about the relationship
can carry meaning, and how between the characters from the camera
visual images can be ‘read’ like angles in this sequence?
any other text.

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4 Shots in sequence

This tool is used along with Freeze Frame to focus on a particular sequence of shots
in a moving image text. We may estimate the number of shots after viewing a short
sequence, or to note each change in shot, location or sound. We can come to
appreciate that the number, sequence and duration of shots in a moving image
text are created in the editing process, and that screen time and story time are
usually different.

This tool can also be used to examine shot transitions (e.g. cut, dissolve, fade) and
how the type of transition affects the meaning. The types of transitions used and
the length of shots help determine pace, and contribute to the meaning. Sound
transitions do not always coincide with shot transitions: in dramatic texts they often
anticipate them to create suspense or alter the mood.

Typical Questions
• What does each shot tell you? What doesn’t it tell you? What questions does it
make you ask, what does it make you want to know? (What is she looking at?
Why did he pick that up? Where are they going?)
• Do we stay in the same place through the sequence or do we go somewhere
else? (Do we return to the original location?)
• Do we follow continuous time through the sequence? Or do we miss bits out,
and shorten the timescale? Or do we stretch it even?
• What differences in camera angle, camera distance from subject, camera
movement are there between one shot and the next?
• Do the sound transitions coincide with the shot transitions or are they different?
What effect does this have?
• How long is this sequence? How much ‘story time’ does it cover? How is that
achieved?
5 Asking questions
Typical Questions
In this aspect, asking questions is probably • How many characters are there
more important than answering them. This is in this story? (Literal)
a core strategy in our development as • Where and when do you think
critical thinkers, and we need to develop a the story is set? (Inferential)
the hierarchy of questions we should be • Why does (character) act in this
asking as we read a text. way at this particular time?
(Inferential)
Questions generally fall into one of three • What do you think is going
categories – literal, inferential or evaluative – through (character’s) mind here?
and we need to ensure that our questioning (Inferential)
develops beyond the literal stage. • How well do you think the author
has generated the feeling of
happiness here? (Evaluative)

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6 Making comparisons
Typical Questions
When we read a text we are constantly (and sub-
• Does this remind me of consciously) making associations between what we
anything in my own are reading and other experiences: other things we
life? How did I/would I have read/seen/heard/watched, and our own real-
behave/react in similar life experiences. Or, to put that another way, we are
circumstances? drawing on our prior learning.
• Does this remind me of
anything I have We should develop our skills on linking the explicit and
read/seen/heard/watc explore those aspects of the text which are most likely
hed before? How are to elicit the comparisons. It is also important to explore
they similar? How are the notion that, while viewing the text will often be a
they different? shared experience, our reactions to it may be quite
different, depending on the associations we make.

7 Looking for patterns Typical Questions

• Can you see anything in the text
By comparing and contrasting texts we which appears more than once?
have read, we, as sophisticated readers,
• Do you hear anything which
begin to show a deeper understanding of
appears more than once?
genre, or of the work of a particular writer, • Do you notice any patterns
director, culture or historical period.
among the images, or in the way
Identifying recurring motifs within a text can
they are filmed? (e.g. camera
help illuminate the text as a whole, and you angle, distance, movement.)
can look for them in the soundtrack, the
• Do you notice any patterns
images, and in story events.
among the sounds? Are particular
characters or actions associated
Patterns can be found in elements of the with particular sounds?
plot, or the repeated use of a certain colour
• Are there any recurring actions?
or symbol, of types of lighting, of camera
• Are there any recurring
angles, shots or movements, of shot ideas/themes/messages in the
sequences or transitions. They can also be
film?
found in the soundtrack of course, in
• Did the length of the shots get
particular musical motifs or instruments, or shorter or longer at any point in
sound effects - Sound and Image is an
the sequence? Is there a pattern
extremely effective tool for identifying
here? If so, what effect does it
these. have on the viewer?
• What kind of story is this? How do
Using Freeze Frame or Shots in
we know? (Introduce concept of
Sequence can also make us more aware of ‘genre’ when appropriate) What
patterns, by separating the shots in a would you expect to happen in
sequence and looking in detail at narration.
this kind of story?

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8 Generic translation

Visualisation, or the interpretation of a printed text into internal images, is a natural

process for trained readers, but the link needs to be made explicit for a developing
reader. Asking ourselves to draw a character or a scene from a printed text allows
us to present their unique interpretation of the text. Using graphic organisers such as
Mind-Maps can be a very effective way of making sense of a text, summarising key
elements, committing to memory or sharing with others, while storyboards or comic-
book software make the creation of narrative easier and more fun.

In the same way, we can often develop a better understanding of moving image
texts by ‘translating’ them into a print genre such as a poem, short story, diary entry
or newspaper item, or by adapting and ‘audio-visualising’ a short written text into a
storyboard.

You may try any of the following activities:

• Take a short written text (story local newspaper the day after the
openings can be good) and ‘audio- events portrayed in the film.
visualise’ it on a storyboard. • Make a PowerPoint presentation to
• Draw a mind-map showing the main convey as effectively as possible
elements of the text. what you have learned from a
• Storyboard the beginning of a sequel moving image text.
to the text. • Make a Podcast radio trailer for a film
• Write the front page article for your you have watched.

9 Summarising You may try any of the

following activities:
The ability to summarise is an essential skill for the • Consider the title of the
developing fluent-comprehending reader. It is film (which is one form of
another of those aspects of reading which summary). Can you
sophisticated readers take for granted: as we provide a better one?
progress through a text we are sub-consciously Explain your choice.
assimilating and synthesising each new piece of • Write a tagline for the film.
information into a constantly updated summary of • Write a ‘pitch’ for the film
the whole. as you would present it to
a potential investor in 25
There are a number of ways in which the ability to words or less.
summarise effectively can be developed. Writing • Write a synopsis (200-300
or making a trailer for a film can be an effective words) for the investor to
way of making an accurate ‘summary’ of the accompany the pitch.
whole text, whether it’s in the form of a ‘sound- • Write a script for a trailer
only’ trailer for radio, a poster of the key elements, for the film in no more than
or a selected edit of shots from the original with 100 words.
appropriate voiceover.

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10 Evaluating

This tool will be used to a greater or lesser extent on every text, and it is one aspect
of reading which rarely has to be encouraged. However, the process of evaluating
or assessing the worth of a text is often the least considered or developed. Readers
of any age will happily tell you what they think of a text, but will often struggle to
explain why, beyond the stock responses of “it was boring” or “it was exciting”.

When engaged in this strategy, therefore, it is the quality of the discussion and the
use of open questions which will determine the quality of the outcome. It is also
important that in any evaluation, the criteria for success are shared and agreed,
and these will usually be related to audience and purpose. An appropriate
vocabulary needs to be developed over time.

Typical Questions
• What was the author’s purpose here and to what extent did he/she achieve it?
• What is the writer’s or filmmaker’s (as opposed to the character’s) point of view?
• Was the ending credible? Satisfying? True to the rest of the story? Why?
• Was this more or less successful than similar texts with the same purpose?
• How could you have made the film better?

Aside from the tools discussed prior, another approach to film

analysis is using film theories which are based or focused the on
philosophical, social and political aspects of a film.

Film Theories for Film Analysis

Film theory is a set of scholarly approaches within the academic discipline of

cinema studies that question the essentialism of cinema and provides conceptual
frameworks for understanding film's relationship to reality, the other arts, individual
viewers, and society at large. (The Routledge Encyclopedia of Film Theory)

The following are some of the major film theories which you might have
encountered in literature and politics:

Psycho-
Feminist Formalistic Marxist
analytic
Film Theory Film Theory Film Theory
Film Theory

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Read the description of each film theory. Match each film theory in Column
A with two corresponding guide questions in Column B.

Column A Column B
Feminist Film Theory A. What is the relationship between
• discourses about women’s the characters and their
participations and roles in almost society?
H every field in the community and B. What recurring patterns
________
in the society in general (repeated or related words,
K
________ • concentrates on the how the images, etc.) can you find?
public scrutinizes how women What is the effect of these
delivers the attitudes, scenarios, patterns or motifs?
and characters given to them to
portray in a particular film in a C. What do the characters’
television or cinema screens emotions and behaviors reveal
about their ‘true’ self and their
Psychoanalytic Film Theory ‘true’ intentions?
• identifies plot elements to look
for sexual symbolisms, the D. What forces are motivating the
________
subconscious and the characters?
________ representations of the id, ego E. What does the work say about
________ and superego economic or social power? Who
• works well as a method of has it and who doesn’t?
analyzing characters’ actions
F. Is there a relationship between
and motivations the beginning and the end of
Formalistic Film Theory the story?
• examines how the film employs G. What tone and mood are
the various parts of literary created at various parts of the
________
design to convey meaning to work?
________ the viewer
• concentrates on the effects of H. Is the form and content of the
________ the visual design, sound design, work influenced by the writer’s
cinematography, editing and gender?
mise en scene on the viewers’ I. Which behaviors of the
perception and interpretation character is known and not
known by the character himself?
Maxist Film Theory
• associates characters and J. How does the social status of a
________ events in a film as representative character affect his/her
of class struggle, labor vs. decisions or happiness?
________
management, poor vs. rich,
________ oppressive governments, and K. How do male and female
other sociopolitical concerns characters relate to one
• determines how the film can also another? Are these relationships
encode political views sources of conflict?

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Recall and reflect on the film that made the most influence to you
as:
• an individual,
• a student, and
• a citizen of the Philippines.

• What is this film?

___________________________________________________________________________

• What theory can be used for your chosen film? Explain briefly.
___________________________________________________________________________
___________________________________________________________________________
___________________________________________________________________________

• Explaining in NOT more than 5 sentences, how did the film influence you as:
a. As an individual
________________________________________________________________________
________________________________________________________________________
________________________________________________________________________
________________________________________________________________________
________________________________________________________________________
b. As a student
________________________________________________________________________
________________________________________________________________________
________________________________________________________________________
________________________________________________________________________
________________________________________________________________________
c. As a citizen
________________________________________________________________________
________________________________________________________________________
________________________________________________________________________
________________________________________________________________________
________________________________________________________________________

Editorial Cartooning
TASK 5
Guidelines and evaluation tool/s for this task will be
posted on the Classwork page.

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References:
Branigan, E. & Bucklard, W. (2014). The Routledge encyclopedia of film theory. London;
New York: Routledge, Taylor and Francis Group.
Boyd, B. (n.d.). Ten tools for reading film. The Literary Adviser.
https://literacyadviser.wordpress.com/ten-tools-for-reading-film/
Hellerman, J. (2020, September 17). 13 film lighting techniques every filmmaker should
know. No Film School. Retrieved from https://nofilmschool.com/film-lighting-
techniques-and-examples
StudioBinder. (2020, September 14). The ultimate guide to camera shots (50+ types of
shots and angles in film). Retrieved from
https://www.studiobinder.com/blog/ultimate-guide-to-camera-shots/

Image Sources:
https://nofilmschool.com/film-lighting-techniques-and-examples
https://www.studiobinder.com/blog/ultimate-guide-to-camera-shots/

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