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El cine como recurso didáctico. El cine compone con formas, luces, colores, texturas, profundidad y movimientos, para representar un espacio tridimensional.

El cine como recurso didáctico

Un encuadre tiene profundidad de campo cuando se muestran enfocados planos cercanos y lejanos. Encuadre, Campo y Fuera de Campo Encuadre: Es el límite físico de la imagen, que presenta lo que se ve en pantalla. En el encuadre intervienen aspectos como la posición de la cámara, las características de la fotografía, el movimiento, la perspectiva, la profundidad de campo y los efectos especiales de composición de la imagen. Campo: Todo lo que se muestra dentro de los bordes de la imagen.

Además, el uso del fuera de campo puede suponer una economía de medios en la producción de una película, al no tener que rodar todos los planos para ofrecer toda la información. Tipos de Plano Un plano es: En el rodaje, la porción de espacio que toma la cámara (y su escala relativa). La clasificación de planos está referenciada a la figura humana. Encuadre Móvil Kulechov y el Espacio. The Camera Never Lies. About the Course This short history course is an introduction to use of images and other media as historical evidence in the twentieth century, issues of authenticity and manipulation, and the place of film and historical adoptions as public history.

The Camera Never Lies

Course Syllabus Week 1: The Camera Never Lies - Introduction Week 2: Images and History in the Twentieth Century Week 3: The Air-Brushing of History: Stalin and Falsification Week 4: Photojournalism, Authenticity and Matters of Public Acceptability - The Battle of Mogadishu Week 5: The Power of the Image - Mount Suribachi, 1945 Week 6: From Page to Screen - Film as Public History Recommended Background No prior knowledge or study of history is required.

Suggested Readings To give a background perspective to the course, participants may wish to consult:Marien, M. Course Format The course will cover the following subjects: Images and History in the Twentieth CenturyJacobson, C. Film Analysis. Conceptos básicos www.zemos98.org. Composición www.zemos98.org. Montaje www.zemos98.org. Teminología unidades narrativas www.zemos98.org. The Language of Hollywood: Storytelling, Sound, and Color Coursera. About the Course This history course explores how fundamental changes in film technology affected popular Hollywood storytelling.

The Language of Hollywood: Storytelling, Sound, and Color Coursera

We will consider the transition to sound, and the introduction of color. Each change in technology brought new opportunities and challenges, but the filmmaker's basic task remained the emotional engagement of the viewer through visual means. We will survey major directors and genres from the studio era and point forward to contemporary American cinema. Our aim is to illuminate popular cinema as the intersection of business, technology, and art. Subtitles for all video lectures available: Turkish (provided by Koc University), English Course Syllabus Here is a week-by week description of the course and the films discussed.

Week One: INTRODUCTION Lecture One: Form, Technology, and the Art of Cinema Lecture Two: The Power of Silence: Cinema as a Visual Art. Lecture Three: Street Angel: Borzage's Visual Opera Lecture Four: von Sternberg's World. Cineducación Tv. Amar el cine 05 El lenguaje cinematográfico. Amar el cine 06 El montaje. Percepción visual y traducción audiovisual: la mirada dirigida Lachat Leal, Christina. Film Study Guides - SparkNotes. Film Studies. How to Read a Film. Back to MLG Home Page Prof.

How to Read a Film

Michael Goldberg Some suggestions on "how to read a film" The film critic Christian Metz has written "A film is difficult to explain because it is easy to understand. " We are used to sitting back in the dark and viewing a film uncritically; indeed, most Hollywood films are constructed to render “invisible” the carefully constructed nature of the medium. Below you will find brief explanations of ways to analyze the language of film. If viewing the film only once, try to take notes in shorthand while watching the film. When analyzing a film as a historical document, keep in mind the film's contemporary audiences or authors. Themes/tropes—The broad ideas and allusions (themes) that are established by repetition of technical and linguistic means (tropes) throughout the film (such as alienation, power and control, transcendence through romantic achievement, etc.)

MISE-EN-SCENE—Everything going on within the frame outside of editing and sound.