DPT VIDBlog

This desultory examination of trepidatious senses of being, as in the white box theory is totally inane. Might I offer the statement made by that reknown Grecian critic Eleni Spiridon: "white snakes in a covered dish..."
 

OK, so this one isn't meant to be all that serious... Sort of my take on film theory and criticism. All a lot of jargon that's just Greek (or Finnish) to me.
 

How refreshing...
Glad we won't be needing this:

a mise en scène analysis of any given shot in a film should consider the following 15 elements:

1. Dominant--Where is our eye attracted first? Why?


2. Lighting Key--Is the lighting high or low key? High contrast? A combination?


3. Shot and camera proxemics--What type of shot? Camera distance?


4. Angle--Low? High? Oblique? Neutral?


5. Color values--What colors or hues are dominant? What is the color symbolism?


6. Lens/filter/stock--Are these used to distort or comment on the scene?


7. Subsidiary contrasts--What are the main eye-stops after the dominant?


8. Density--How much visual information is there? What is the texture?


9. Composition--How is the screen space segmented and organized?


10. Form--Open or closed? Window view or proscenium arch?


11. Framing--Tight or loose? Do the characters have room to move?


12. Depth--How many planes of depth are utilized? How do they interrelate?


13. Character placement--What part of the frame do the characters occupy?


14. Staging positions--How are they positioned in relation to the camera?


15. Character proxemics--How are they positioned in relation to each other?
 

hmmmmm its a long endles tree of greek thats intended to be viewed @ 2560 x 1024