Study of camera

I would like to examine the possibilities facing me when dealing with the camera, as I have been advised that it is an important facet of the mise-en-scene. My main concern is the positioning of the camera. I intend to have it pan across the cell, and then slowly stop at a sufficient location that gives access to the cell. I also know that the camera will feature directly behind the bars, with some of them visible close-up, and the camera will focus on the character who is sitting on the bed. This tells me that detail will need to be paid to the texturing and shading of the bars, whilst not diverting any attention away from the character.

My main issue is, where exactly do I locate the camera. From above? From below? Top corner? Center? Each position can give a different insight to what is happening in the scene. From above would suggest that character is being watched, perhaps by CCTV, which is uncanny of a prison cell.

To further my understanding of camera positioning and movement, I consulted a book called "Shot by Shot" by Steven d. Katz. Several quotations on the use of camera shots struck me, and they are points that I addressed in my dissertation.

“For the narrative filmmaker, the most interesting aspect of open and closed framings is the way in which they are used to offer the viewer varying degrees of involvement and intimacy with the subjects on the screen (Katz, 1991, p.259).” 

While the mise-en-scene establishes this relationship between audiences and characters, what of the relationship between the character and the objects that are around him. It can be said that a scene can be looked at as a world within a world, as if everything that appears in a scene is there intentionally. Thus, it is important that the character interacts, or has some presumed interaction, with them. An alcoholic who is at home and is trying to stop drinking, for example, would be accompanied on-screen surrounded by empty bottles. This ties into the closed camera framing. Even with this establishment, the character may be drinking out of a bottle as well, confirming that he indeed is afflicted with alcoholism. His struggle to stop will be signified by the intricate camera shots back and forth between the bottle and the character. These types of shots can be so effective that they can tell the audience who is winning the struggle without the use of dialogue. A shot of the bottle with the alcoholic in the background would tell us that it is him who is motivated by the bottle. If the shot was vice- versa, then the audience could put themselves in the mind of the alcoholic as his struggle to resist the temptation will be show from his point of view. This type of framing is best used

during negative instances where something bad has happened, is happening, or will happen, such as the relationship between a man keeping desperate track of time with his watch, or during car chase scenes -- whether it is shown that the chase is dangerous through the presence of pedestrians, or if it takes place within short and narrow roads as opposed to an open field.

“With open and closed framings, we considered the ways in which graphic and editorial

techniques determine the level of involvement the viewer has with the characters on screen.

Point of view, on the other hand, determines who the viewer identifies with. The two

concepts are closely related and nearly always work together in any sequence (Katz, 1991, p.267).” 

The point of view is often a consideration that must be tackled when there are multiple locations and characters in a narrative. It is important that the audience is always aware of who the main focus of the shot or scene is. Even in scenes involving only one character, it cannot be assumed that this character is guaranteed to be the sole focus. A distant shot of a window behind the character who is performing an action may indicate to the audience that something is soon to happen to it, or outside of it. Incorrectly placing the shot will change the audience expectations and thus not deliver the intended outcome of the scene.

“Extensive use of the subjunctive viewpoint has always been awkward in narrative film

largely because we are only given the visual point of view of a character and are deprived of

seeing his or her reactions through facial or other gestures (Katz, 1991, p.267).” 

While this is true in many cases, it gives rise to a number of possible unconventional techniques in the often repetitive world of film. An example of a recent case is Hit Girl’s first person point of view scene in Kick Ass. This works particularly well due to two reasons. Firstly, we are seeing the scene in a day and age where this viewpoint is extremely common and, more importantly, popular in another medium – video games. The use of the view in this film is borderline parody of that (which ties into the second reason), and in this zeitgeist age

of information, anybody with access to television or internet will be able to see this. The second reason is that, the point of view itself is used for comedic purposes. This is an eleven year old girl who is killing adults in a professional manner. The scene, or better yet, the sequence, does not rely on accepted film language concepts. We do not need to see her facial expression of physical reactions to the killing as we are already aware of this from previous scenes. If anything, this type of point of view shot benefits her character, because

as mentioned before, she deals with the situation in a professional manner, thus telling us that all fun and games aside, she is deadly and competent when it matters most.

The key points to be taken from these quotes, and my analysis of them, is to strike a perfect balance between character and the scene. I want the scene itself to be the emphasis, but it can't overshadow the character, otherwise what would be the point of having a character present? They must compliment each other.