Narrative Style Flashcards
Subjective treatment
The camera treatment is called ‘subjective’ when the viewer is treated as a participant (e.g. when the camera is addressed directly or when it imitates the viewpoint or movement of a character). We may be shown not only what a character sees, but how he or she sees it.
Objective treatment.
The ‘objective point of view’ involves treating the viewer as an observer. A major example is the ‘privileged point of view’ which involves watching from omniscient vantage points. Keeping the camera still whilst the subject moves towards or away from it is an objective camera effect.
Parallel development/parallel editing/cross-cutting
An intercut sequence of shots in which the camera shifts back and forth between one scene and another. Two distinct but related events seem to be happening at approximately the same time.
‘Invisible editing’
The cuts are intended to be unobtrusive except for special dramatic shots. It supports rather than dominates the narrative: the story and the behaviour of its characters are the centre of attention.
The editing isn’t really ‘invisible’, but the conventions have become so familiar to visual literates that they no longer consciously notice them.
Mis-en-scene (contrast montage)
‘Realistic’ technique whereby meaning is conveyed through the relationship of things visible within a single shot (rather than, as with montage, the relationship between shots). An attempt is preserve space and time as much as possible; editing or fragmenting of scenes is minimised. Composition is therefore extremely important. The way people stand and move in relation to each other is important. Long shots and long takes are characteristic.
Montage/montage editing.
In its broadest meaning, the process of cutting up film and editing it into the screened sequence. However, it may also be used to mean intellectual montage - the justaposition of short shots to represent action or ideas - or (especially in Hollywood), simply cutting between shots to condense a series of events.
Talk to camera.
The sight of a person looking (‘full face’) and talking directly at the camera establishes their authority or ‘expert’ status with the audience.
Tone
The mood or atmosphere of a programme (e.g. ironic, comic, nostalgic, romantic)
Uses/risks of subjective treatment in narrative?
A temporary ‘first-person’ use of camera as the character can be effective in conveying unusual states of mind or powerful experiences, such as dreaming, remembering, or moving very fast. If overused, it can draw too much attention to the camera. Moving the camera (or zooming) is a subjective camera effect, especially if the movement is not gradual or smooth.
Use of parallel development
Adds tension and excitement to dramatic action. A chase is a good example. Each scene serves as a cutaway for the other.
Use of ‘invisible editing’
The technique gives the impression that the edits are always required are motivated by the events in the ‘reality’ that the camera is recording rather than the result of a desire to tell a story in a particular way. The ‘seamlessness’ convinces us of its ‘realism’
Devices of the ‘invisible editing’
- The use of matched cuts (rather than jump
- Motivated cuts;
- Changes of shot through camera movement;
- Long takes;
- The use of the sound bridge;
- Parallel development.
Who is allowed to talk to the camera?
Announcers, presenters, newsreaders, weather forecasters, interviewers, anchor-persons, and, on special occasions (e.g. ministerial broadcasts), key public figures. The words of ‘ordinary’ people are normally mediated by an interviewer. In a play or film talking to camera clearly breaks out of naturalistic conventions (the speaker may seem like an obtrusive narrator). A short sequence of this kind in a ‘factual’ programme is called a ‘piece to camera’.
Woody Allen uses this resource a lot.
Intellectual Montage editing
Intellectual montage is used to consciously convey subjective messages through the juxtaposition of shots which are related in composition or movement, through repetition of images, through cutting rhythm, detail or metaphor. Montage editing, unlike invisible editing, uses conspicuous techniques which may include: use of close- ups, relatively frequent cuts, dissolves, superimposition, fades and jump cuts. Such editing should suggest a particular meaning.
e.g. French movie: ‘Mommy’ (2014). Xavier Dolan
