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6/20/2021 0 Comments Film- All About Camera Angles Often what are described as camera angles have nothing to do with angles at odd degrees. Most of the time, the camera setup is based on distance from the subject, choice of lens, and camera height. With combinations of these three ideas, a filmmaker can create dozens of creative shots that not only affect the viewer subconsciously but also can help to further the plot and character development. I will describe each of these ideas. Distance The first idea to consider when placing a camera is distance from the subject. Obviously the options are greater in an open outdoor space than an enclosed indoor space. For the basics, moving the camera closer to the subject makes the subject larger in the frame. Moving the camera away from the subject makes the subject appear smaller in the frame. A word of caution here about using a zoom lens or feature instead of moving the camera. Many consumer level cameras offer a wide zoom range, sometimes listed as 300x or more. However, it is important to understand the difference between optical zoom (meaning an effect of the zoom lens) and digital zoom (meaning that the camera is simply blowing up the original image). While optical zoom is a practical effect, digital zoom is no different than zooming in on a picture on the computer. The quality of the image gets worse the closer you try to zoom in. Because of this, I recommend moving the camera closer to the subject than relying on a zoom feature. Lenses Here is where the options can get really interesting. Lenses affect the depth of the image also called depth of field. When we say depth for photography, it is basically the apparent distance between the subject and the background. There are many types of lenses, but the basic ones are wide, normal, and telephoto (a zoom lens is one that can transition between these).  Wide These types of lenses allow the largest canvases. They also make the background appear as far removed from the subject. For traditional extremely wide shots, the entire landscape is in focus. Wide shots are often used to establish a new location. They can also be used for great effect to show contrasts. A tiny house in a huge field can be very effective. Two people standing on opposite sides of the image can be symbolic of the emotional distance between them.  Normal This can be thought of as medium--not too wide; not too close. The background appears medium distance from the subject, depending on the distance from the subject, the background may be more in focus or more blurry. Two subjects can appear together in this type of shot and still be in focus.  Telephoto These lenses are the closest and are meant to focus on the subject, often blurring out the background. They are often only used for two subjects close together or just one subject. The focus can change during a shot to move between subject and background. Combinations of Distance and Lens When you combine distance with different types of lenses, you get some creative effects. With a wide angle lens, you can still move the camera very close to the subject and the background will appear very far while the subject takes up most of the frame. In contrast, with a telephoto lens, you can move the camera far from the subject and still have the subject large in the frame. As one can see, combining distance and lens type can allow the filmmaker to focus on certain parts of the frame or bring out details sharper. The eye is automatically drawn to the parts of the image that are sharper. In this way, the filmmaker forces the viewer to focus on the desired parts of the image.  Height Height is another element of camera placement. The average shot is at eye level, but by altering the height of the camera, the filmmaker can show character perspectives and power relationships.
When a character walks down a street, if the view is from a window, it may indicate the character is being watched. When one character is filmed from below while another is filmed from above it could show the power and influence one character has over another. Height can be combined with distance and lenses to add another layer of information to a shot, but height is often best used subtly so that it affects the viewer subconsciously. Used too much or too obviously and the height of the camera can become comical, unless that is the intention. As you can see, combining distance from the subject, various senses, and camera height, there are dozens of different types of shots available to the filmmaker. The best shots are the ones the contribute to the story and enhance the characters. Let me know if you have questions!
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 Context The mid-1930s was the age of the Screwball Comedy. This subgenre places its characters in bizarre situations that compound as the film progresses, typically in a romance-driven narrative. While some credit Howard Hawk’s Twentieth Century (1934) as the first Screwball comedy, I feel that the style of Twentieth Century is much closer to the Lubitsch/ Cukor comedies of the early years of the decade, and not the later Screwballs. Frank Capra’s It Happened One Night provided not just the basis for every subsequent Screwball comedy, but for romantic comedy in general. The film’s comedy is forever linked to its unforgettable romance, as nearly every romantic comedy since reminds us. At the time, Columbia was not a major film studio. In fact, most people working in the film industry referred to it as a Poverty Row operation. Frank Capra (1897-1991) had a knack for creating believable, memorable characters. It Happened One Night is not only one of Capra’s funniest and most enjoyable films, but also one of his greatest commercial and critical successes. Today, we remember Clark Gable (1901-1960) as the iconic, suave, rebel Rhett Butler in Gone With The Wind (Victor Fleming 1939), but before making It Happened One Night, Gable was not the megastar that we think of today. Getting Gable was actually a stroke of luck for Capra and his relationship with Gable started off rough. Little did Gable know that the film would shoot him to superstardom. Unlike Gable, Claudette Colbert (1903-1996) was already a big box office draw going into It Happened One Night. She began her career in theater, and her verbal delivery allowed her to transition well into sound films Colbert turned out to be quite selective when it came to what she would and would not do in her performance. Many of the classic moments of the film, came as a result of Colbert refusing to do what was in the screenplay. Her reservations inspired Capra to create the whole Walls of Jericho concept. This little picture had surprised not only the critics, but also the people involved in its production. Production went very quickly and smoothly. From the start, the filmmakers had anticipated difficulty with the Production Code due to the innuendo and implied sexuality in the film. Film content standards were under heated debate at the time. In 1933, when the National Legion of Decency began, the Hays Office became the Production Code Administration, headed by Joseph Breen. Capra’s film not only had to pass inspection from these organizations, but from the internal studio censors as well. Though many see the Production Code as a hindrance, it forced Capra and his contemporaries to become more innovative and resourceful in their telling of a narrative.  Reception The reviews were overwhelmingly positive. With these reviews, we begin to see the development of the critical language used to analyze romantic comedies. Mordaunt Hall of the New York Times called it a “merry romance” and praised the performances of Colbert and Gable, as well as the fast pace of the writing. Boxoffice Magazine called it “hilarious”, praising Gable’s performance and noting the “Capra technique”, that is, his ability to get at the basic human nature inherent in every situation. The New Republic said, “Considering its subject, it is better than it has any right to be - better acted, better directed, better written…. The cast was particularly sound from top to bottom”. Variety said that it “proves two things. A clean story can be funnier than a dirty one and the best way to do a bus story is to make them get out and walk”. William Troy of The Nation stated, “Among the more gratifying phenomena of the current season has been the growing recognition of It Happened One Night… as one of the few potential classics of the recent cinema”. From these reviews we see distinct foci: the romance, the performers, the director, and the writing—indicating how the Screwball comedies became more of a collaborative effort than earlier comedies.By the time awards season came around, the film was nominated for five Academy Awards: Best Picture, Best Director, Best Writing (Adaptation), Best Actor, and Best Actress—winning all five. Over 75 years later, the reviews are still mostly positive. Interestingly, most reviewers still focus on the same aspects of the film as the contemporary reviewers, while some approach the film in the context of an early Capra success. Martha P. Nochimson of Senses of Cinema called it “Capra’s best film”. Bret McCabe of the Baltimore City Paper praised the performances, saying it “catches icons Gable and Colbert early enough in their careers where they let themselves be silly”. Still more reviewers praise the writing. Sukhdev Sandhu of The Telegraph stated, “it’s still witty and sophisticated today”. David Jenkins of TimeOut London Magazine said, “Every line of dialogue is calculated bliss”. Peter Bradshaw of The Guardian described it as “buoyant and elegant as bubbles in a glass of champagne”. A couple reviewers addressed the social taboo that the film violated at the time. Dennis Schwartz of Ozus’ World Movie Reviews admitted that “In many ways it’s dated, but the comedy still works even if it’s probably not as madcap humorous as when it was first released” and Neil Smith of Total Film Magazine agreed “Tame by today’s standards,” but adding, “it’s worth remembering just how shocking a glimpse of Colbert’s car-halting stocking would have been in Depression-era America”. Tim Dirks of American Movie Classics Filmsite seems to be the only one to explore the deeper meaning in the film, “The escapist theme of the film, appropriate during the Depression Era”. He also describes it as “a reversal of the Cinderella story”. Derek M. Germano of the Cinema Laser summarized the film’s critical success.  Legacy Capra made It Happened One Night, but It Happened One Night made Capra the standout director that we remember today. He went on to make many successful films, comedies and dramas alike. Outside of the motion picture industry, the film inspired many cultural trends as well. In the hotel scene when Gable undresses, he found it too difficult to remove an undershirt while delivering all his snappy lines. His solution was to therefore not wear an undershirt. Consequently, undershirt sales in the United States dropped considerably. The importance of the bus trip in the film sparked a big interest in more bus travel.
The Screwball Comedy style of the film went on to inspire such comic gems as Howard Hawk’s His Girl Friday (1940), Preston Sturges’ The Lady Eve (1941), The Thin Man series, and George Cukor’s The Philadelphia Story (1940). It Happened One Night is significant in the study of film comedy not only as a film that has been recognized as one of the greatest screen comedies for nearly 80 years, but also as the only comedy film to win the top five Academy Awards as well as the National Board of Review award for Best Picture—awards for which most comedies were not even nominated.  Literature Many would find it odd to see Jane Austen (1775-1817) listed amongst the great creators of comedy, but here I present her as not only the first notable female writer of comedy, but also as someone who today scholars still discuss as one of the most frank and observant social critics. One would not seem to read Austen’s Pride and Prejudice or Sense and Sensibility in order to enjoy an elaborate farce, but by looking to the Medieval definition of comedy that describes comedy as a story with a happy ending, as in Dante, one can see that Austen’s novels end with the joyful union of lovers. Austen has the keen ability of capturing the humorous side of characters, as one would encounter it in everyday life. Austen acknowledged the necessity of comedy for a person’s feeling of well-being. Music In the time since Mozart, composers such as Gioachino Rossini (1792-1868; The Barber of Seville) and Gaetano Donizetti (1797-1848; Don Pasquale) succeeded him in the crafting of comic gems. Today, audiences everywhere are familiar with the music of Rossini, though they may not know it, for Bugs Bunny and the Looney Tunes appropriated much of it. As one can see through the Looney Tunes’ use of his music, Rossini’s operas present such a complete view of comedy. Not only are the libretti and situations humorous, the very quality of the music, with its twists and surprises, is comical. The prolific Gaetano Donizetti succeeded Rossini in the genre of Opera Buffa, crafting several successful examples of the form. One can see many of the gags known to slapstick films and the situations of the Screwball Comedies as being mainstays of Rossini and Donizetti’s operas.  The Victorian Era Few time periods in the history of the Western World have seemed to follow so many implied social rules than the Victorian Era. It was precisely for this reason that the Victorian Era needed comedy—something that can exist outside of social boundaries. While one would seem off base labeling Great Expectations, A Tale of Two Cities, and A Christmas Carol as comedies, one needs to note how Charles Dickens (1812-1870) does craft many rich comic characters and situations. Numerous critics and scholars praise Dickens for his humor. Early filmmakers, including D.W. Griffith and Sergei Eisenstein, who also theorized about effective filmmaking, often cited Dickens as a source of inspiration for the multifaceted structuring of narrative. Dickens demonstrated how the reader could experience concurrent action in a novel, a structure also possible in film, unlike live theatre. Comic filmmakers soon adopted the narrative techniques of Dickens as Griffith and Eisenstein had utilized them. In Dickens, we see comedy as a relief from the pains of life. Like Chaplin, Dickens grew up in poverty and felt a connection to the common people, pursuing comedy as a relief in the Medieval comedy, which also appears in Sullivan’s Travels (1942). Chaplin, Dickens, and (to a point) Sturges, were all populists who could approach social injustices through the lens of comedy. Like Shakespeare, Cervantes, and Mozart before him, Dickens created many rich comic characters. If laughter truly is a group activity, perhaps laughter allows the reader to affirm the comic character. Few authors would shape the philosophy of depression era filmmakers such as Chaplin and Sturges—working with urban settings—more so than Charles Dickens. Romantic Period When we move into the Romantic period of art, literature, theatre, and music, we find that, “Romantic dramatists preferred tragedy to comedy” (Ousby), which makes sense in an era of industrial change, war, social upheaval, scientific and medical discoveries, and changing national identities. If the reader considers that one of the elements of Romanticism, personal feelings and individuality, it is not surprising that comedy—which is an expressive form that is meant to be shared—should not catch the attention of Romantic critics. In music, it is interesting that of all of Bedrich Smetana’s opera works, it is the comedy for which he is remembered best. Comedy makes people feel good, and one can always remember the feeling that a comedy inspired. French composer Jacques Offenbach (1819-1880) held the world stage with a variety of comic operas. Offenbach was able to take the satire of Swift and mold it into a musical form. It is ironic that Giuseppe Verdi (1813-1901), who began his career with a comedy—decided to end his career with a comedy as well. It is still performed today to enormous popularity.  Transitional Years Much like the case with Verdi, Giacomo Puccini (1858-1924) is known for his tragic operas. However, his Gianni Schicchi, based on a character from Dante, is a highly praised comic opera. Like Puccini’s skill in comedy as well as tragedy, some of the most notable comic filmmakers like Billy Wilder, W.S. Van Dyke, and George Cukor, could also succeed in non-comic genres. One only has to think of Double Indemnity (Wilder 1944), Tarzan the Ape Man (Van Dyke 1932), and Gaslight (Cukor 1944), to see this versatility in action.
The comic opera tradition continued with the works of three separate composers. In Vienna, Johann Strauss (1825-1899), “the Waltz King”, composed Die Fledermaus, with annual New Years performances still selling out fifteen years in advance, As we see with several film comedies like Chaplin’s City Lights (1931) or Wilder’s Some Like It Hot (1959), a comedy may be successful commercially and critically at its release and continue to be so. Often, as with Verdi’s Falstaff or Strauss’ Fledermaus, the appeal is partly due to the comic creators and performers’ existing reputations. In the United Kingdom, librettist William Gilbert (1836-1911) and composer Arthur Sullivan (1842-1900) collaborated on several comic operettas including The Pirates of Penzance, H.M.S. Pinafore, and The Mikado. In a similar way, American composer Victor Herbert created such comic operettas as Eileen, Naughty Marietta, and The Red Mill. In the realm of literature, Mark Twain (born Samuel Clemens; 1835-1910) is still one of the world’s most influential writers. Twain’s comic style relates to the social critique of Dickens and Chaplin, as well as to the satire of Swift. In a later work, The Mysterious Stranger: A Romance, Twain proclaimed the power of comedy. It is a terribly important fact for American film comedy that one of America’s greatest writers specialized in comedy, particularly the ability to observe the people and situations of everyday life. Part of the next generation after Mark Twain, composer/conductor John Philip Sousa (1854-1932) became quite a prolific writer of comic operettas, though today, the general public and most music historians remember Sousa as the “March King”. Sousa’s dream, in fact, had always been to be a musical theater composer, not a band conductor. Despite this, many music reference texts do not even mention Sousa’s operettas in his biographies. Sousa’s work on Our Flirtations and other arrangements made him well known in the music world. Sousa wrote nine comic operettas, however, Sousa’s operettas fell out of favor with audiences and critics just as silent film comedy was reaching the forefront of American popular entertainment and art. Many historians attribute the failure of his final show to the fact that it was the product of an era that had already passed in America, Sousa’s operettas and those like them still exerted an influence on the later anarchic sound comedies of W.C. Fields, Laurel and Hardy, The Marx Brothers, Bob Hope and Bing Crosby, and Dean Martin and Jerry Lewis—especially in the musical interludes of the latter three comedy teams. One should note how easily aspects of comic musical theater were absorbed into the comedy of the sound film. |