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Film Mise-en-Scene and Camera Shots Quiz

The film begins as a journey to film the largest animal on the planet, the blue whale. But during the journey the filmmakers (journalist Craig Leeson and environmental activist Tanya Streeter) make the shocking discovery of a huge, thick layer of plastic floating in the middle of the Indian Ocean. This prompts them to travel around the world to look at other areas that have been affected. In total, they visited 20 locations around the world during the four years it took them to make the film. The documentary premiered in 2016, and is now on streaming services such as Netflix.It’s very clear that a lot of research went into the film. There are beautiful shots of the seas and marine life. These are contrasted with scenes of polluted cities and dumps full of plastic rubbish. We see how marine species are being killed by all the plastic we are dumping in the ocean. The message about our use of plastic is painfully obvious. But the film doesn’t only present the negative side. In the second half, the filmmakers look at what we can do to reverse the tide of plastic flowing around the world. They present short-term and long-term solutions. These include avoiding plastic containers and ‘single-use’ plastic products as much as possible. Reuse your plastic bags and recycle as much as you can. The filmmakers also stress the need for governments to work more on recycling programmers, and look at how technology is developing that can convert plastic into fuel We make a staggering amount of plastic. In terms of plastic bags alone, we use five hundred billion worldwide annually. Over 300 million tons of plastic are produced every year, and at least 8 million of those are dumped into the oceans. The results are disastrous, but it isn’t too late to change. Once you’ve seen A Plastic Ocean, you’ll realize the time is now and we all have a role to play.

Types of shot in film

Auteur Theory is a way of looking at films that state that the director is the “author” of a film. A film is a reflection of the director’s artistic vision; so, a movie directed by a given filmmaker will have recognizable, recurring themes and visual queues that inform the audience who the director is (think a Hitchcock or Tarantino film) and shows a consistent artistic identity throughout that director’s filmography. The 3 Components of Auteur Theory Andrew Sarris, film critic for The New York Times, expanded on Truffaut’s writing and set out a more comprehensive definition for auteurs according to three main criteria: technical competence, distinguishable personality, and interior meaning. 1. Technical competence: Auteurs must be at the top of their craft in terms of technical filmmaking abilities. Auteurs always have a hand in multiple components of filmmaking and should be operating at a high level across the board. 2. Distinguishable personality: What separates auteurs from other technically gifted directors is their unmistakable personality and style. When looking at an auteur’s collected works, you can generally see shared filming techniques and consistent themes being explored. One of the primary tenets of auteur theory is that auteurs make movies that are unmistakably theirs. This is in sharp contrast with the standard studio directors of the era who were simply translating script to screen with little interrogation of the source material or editorial input. 3. Interior meaning: Auteurs make films that have layers of meaning and have more to say about the human condition. Films made by auteurs go beyond the pure entertainment-oriented spectacles produced by large studios, to instead reveal the filmmakers unique perspectives and ruminations on life. https://www.masterclass.com/articles/film-101-what-is-an-auteur#3ClNjwO6Gkgjd8ix2Cm5qI Who is the author of a TV program? It seems like it ought to be an easy question to answer, but it is not. There are, of course, scriptwriters, who are the literal authors of episodes in the sense of generating words that an actor eventually speaks, but in a soap opera or a sitcom there may be a dozen or more scriptwriters working on dialogue as the months go by. Is any one of them truly responsible for the overall tenor of the show, or are they just following rigid guidelines set down by other scriptwriters ahead of them? And the script is just the blueprint of an episode anyway. Actors, production designers, directors, videographers, editors, and on and on, are all necessary to construct an episode from that blueprint. Should we call one of them the author? And, at a more basic level, should we even bother looking for authors in television? Do viewers need to know who created a program in order to enjoy it? What does it add to our appreciation or understanding of television if we assign authorship of a program to an individual? In the closely related medium of the cinema, questions such as these have been answered by the auteur theory, which stems from the French word for “author,” auteur. Its basic precept is that a single individual is, and should be, the “author” of a work in order for it to be a good, artistically valuable work. A book, poem, film, or television show should express this individual’s personality, his “vision” (the masculine pronoun is significant; auteurist studies almost all focus on men). This notion stems from the nineteenth-century Romantic image of the author as a figure who sits alone in a dingy room, scratching out angst-ridden poems with a quill pen. The tormented, misunderstood author or artist is a cherished character type that can be traced back to the poet Lord Byron (1788–1824) and observed in numerous portrayals of demented painters, musicians, and writers in television programs and other media. Consider this: Have you ever seen or read a story about a creative person who wasn’t somehow strange or crazy? The auteur theory originated in French film criticism of the 1950s, where it was initially theorized that auteurs could be drawn from the ranks of producers, directors, scriptwriters, actors, and other filmmaking personnel.1 However, the vast bulk of auteurist film criticism has been about directors: Alfred Hitchcock, John Ford, and Quentin Tarantino, among many others.

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