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Cinematography in film

Chose a collection from any one of the motion pictures shown in the component guides filmography and analyse the functions of the cinematography (including light), editing and sound.

Cinematography refers to the aesthetic creative techniques of an film, comprising lighting, sound and composition. Alfred Hitchcock thriller, Psycho [Alfred Hitchcock, 1960, USA] methods exquisite cinematography ways to construct suspense and tremor to the spectators from his use of framing, lighting, camera movement, editing as well as audio. Film critic Roger Ebert says that a widespread element among Hitchcocks motion pictures, is the guilt of the standard person in a legal situation [Ebert, 1998]. However in this scenario the key character Marion Crane [Janet Leigh] flees with stolen cash, nevertheless still fitting the Hitchcock mould associated with an innocent criminal offenses.

EDITING

Hitchcock practises some remarkable camera techniques to make sequences far better, the notorious shower scene is a essential element and illustrates Hitchcocks adoration for visuality. Adopting editing and audio as a cinematic guidance to encourage the audience both visually and emotionally to make a horrific, suspense led murder scene. However spectators never actually witness the knife chopping into the womans flesh, we just assume it by using sound FX, palm motions, a pressure building soundtrack and editing and enhancing; The filmic makes the murder field more natural and suspense motivated creating tension between the spectators. Because of this by exposing the horrific constant violence without truly presenting any, going out of it up to the spectators creativeness.

Fast editing countenances for an even more vicious position to the picture, notwithstanding the insignificant amount of blood. Hasty editing and enhancing of multiple photos indicate the knifes sharp cuts, abundant as the squelching soundtrack rupture the spectators eardrums while perhaps representing a scream or a fowl shriek. Some of the possessed photos are high and medium angle photographs to conceal the spectators from seeing the killers face. The combo of the photographs makes the sequence seem longer, more subjective and much more uncontrolled and violent oppose to the images being exposed alone or by using a wide angle shot In this landscape the womans nudity presents one of two principles; vulnerability as she's nothing to safeguard her body i. e. clothes also within american modern culture nudity is viewed after as exceedingly private therefore we as spectators are interfering on her private instant voyeurism.

CAMERA TECHNIQUES

In many Hitchcock videos the leading woman is generally a blonde and attractive, essentially there to make sex appeal in this case this is clear with the girl being naked. Apart from sex charm and representation of the male gaze, nudity also provides other connotations appropriate in this case the woman is fatal danger. The reduced perspective shot of the showerhead from the girl POV resembles an vision, its observant presence could suggest a big brothers seeing you sense as it watches her washing herself, cleansing herself of the impurity of her prior actions; meanwhile her posture signifies almost sexual enjoyment. Nonetheless, she is being so sensual that it supports Mulveys theory of the male gaze as it shows a woman being sexualized and delicate at the same time. She is going to be penetrated with a knife. Given the period of the film, censors constrained sex and nudity. So, drinking water perhaps symbolically used to express libido and orgasms, as the woman is cleaning plays into Hitchcocks theme of guilt [Leighmediaasfilm, 2011].

However in the parlor picture camera sides play a essential role in revealing to the spectator about Norman Bates figure with Hitchcock directing the picture in conditions of contrasts. We get the girl sitting comfortably in her chair, leaning slightly frontward; Hitchcock purposely set up the camera in close proximity to attention level perhaps to provide the spectators the theory as to how two people may see each other while resting and speaking, however Hitchcock shoots the man from an abnormal low angle, recommending that he's twisted and askew.

SOUND

Bernard Herman composed the movies powerful soundtrack incorporating an easy lowering squelching soundtrack Hitchcock created an extreme impression of slaughter, assault and nudity while left over to display little or no. However the infamous scene commences with the acoustics FX of running normal water perhaps to imply to the spectators that everything is fine. In addition, it becomes significantly clear that the woman will have a problem in hearing other things as the audio of this inflatable water is overpowering the other diegetic may seem.

A figuration little by little appears behind the bathtub drape the suspense of the picture become more powerful, only once the drape is pushed aside that the spectators comprehend what is about to occur, suspense increased by the shrieking high pitched squelching soundtrack. The soundtrack in this world specifically is dark and sinister, accompanying the knife moves to her skin also including tearing sounds. Perhaps this implies the agony of the blade to her skin through the high pitched violin tools within the soundtrack, it has a discordant quality to it possibly to signify the knifes sharpness again creating pressure. Pressure is also created as the camera is represented as the knifes activities, being attracted away and reversed. After the girl has been slaughtered, the soundtrack reaches its crescendo and transforms from a higher pitched squelching to a minimal pitched distressing audio.

LIGHTING

The parlour landscape uses camera angles, lighting, dialogue and sensible FX to portray the people in a certain light. These are precisely positioned in line with the light source in order to accentuate their seeks and intensions within the arena as well as their characteristics. The girl is located close yet relatively behind the lamp, with her face being well lit; perhaps signifying that she is a beaming with friendliness and reconstruction despite her recent escapades. The light around her also advises a gentleness around her also signifying she is redeemable. Although Hitchcock purposely placed the man from any kind of source of light and into a dark shadowy nook. This has the result of a tight rift between light and shadow also represented across his face, also indicating the clash of his double personality [murderer/son]. He is also engrossed in low key light which implies something is being hidden or retained in the dark and further results in piercing pointed shadows portentously on the wall and ceiling beyond him.

MISE EN SCENE

The dark-colored and white look of the film offered it a clean basic feel while staying to embody the heart of an old film noir and further accentuates the theme of good vs evil, this is also illustrated by the pointed differentiation of light and dark. Black color and white costume is also exploited greatly within the film, for example at the beginning of the movie the woman is seen using white underwear perhaps suggesting her innocents and purity, then later shes in dark-colored underwear after shes taken the money. The mise-en-scene uncovers the woman bounded by simple objects that produce her seem to be a sympathetic persona. Before her is a jug of milk rather than glass and small appetizers prepared by the person Norman, in the meantime as the woman ingests none of the milk it is actually the condition of the jug that keeps the visual signals.

Colour plays a huge role in the mise-en-scene the jug is white, gleaming and chic perhaps signifying her innocent and real goodness. Also her hunched curved pose and curly hairstyle adds to the sense that she actually is or ultimately is a victim. However the man on the other side is engrossed in lines of shadows across his face and body, many of which are set at perspectives creating a feeling of emulation and danger rather than conformity. In one shot behind the mans make there's a dark breasts of some sort with shadowy lines perhaps a variation to the curved light fixture, as well as the actual fact that the girl is wearing light clothes and the man is wearing dark clothing. Additionally one of many visually revitalizing feature in to the mans twisted head, is the stuffed wild birds positioned across the walls, desk and upper body in the area, this also means the dark areas of his character; he is a predator. The wild birds also create a sense of dread and fright within the parlour, as the hover around him.

References

Leighmediaasfilm. blogspot. co. uk, (2011). AS Film Studies 2012-2013: Voyeurism & The Male Gaze (the shower field). [online] Available at: http://leighmediaasfilm. blogspot. co. uk/2012/09/voyeurism-male-gaze-shower-scene. html [Accessed 9 Jul. 2014].

Psycho. (1960). [DVD] USA: Alfred Hitchcock.

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