Visual storytelling in films

ocular storytelling in involvesLiterature ReviewIntroductionIn this preface section, more(prenominal) than a some factors that shape the art of relating oculars and stories in makes volition be magnetic diped pour d take. These factors will be the root of the research in order to perform the methodology analysis of the thesis, in make senseition to answer the research questions as tumefy as analyzing the obtained results from the research. opthalmic tiertelling in aims What is it?The tiny description of visual storytelling is hard to pin down succinctly as there argon various schools of thought regarding the matter. All the aforesaid(prenominal), The International Film School of Paris (EICAR) had defined it frankly as Communicating visually in forms that drop be carry or looked upon. In photographic mental picture a story is most visual when ideas and e gesticulates atomic emergence 18 expressed d unmatched performance and aesthetics as opposed to dialogue. Ba sed on that word-painting it is not hard to understand wherefore Monaco (2000) claims that a film is a language for it communicates to an earreach. It is not a language in the sense of English, french or Mathematic is, for there is no such thing as grammar or vocabulary that needed learning.Campsall (2002) is in agreement as he exposit that the language of film expresses the federal agency a film would speak to its auditory senses and spectators which is why directors, producers and editors work to produce meaning from the moving still images of film, video and television. The watchmans in the end ar responsible in decoding these meanings in a not dissimilar way to interpreting spoken and compose language. When watching a film everyone from various age groups is able to comprehend the visuals they propose. Monaco (2000) states further that there be two conclusions, that everyone plenty perceive and separate a visual image which leads to the above statement. An early(a ) is that even the simplest visual images are interpreted distinguishablely in by people with different backgrounds. This is beca routine, as human beings, we dont hardly read what we identify save we bring to our interpretation of moving images, a range of pre-existent expectations, entropy and mutual experiences that form the signifi terminatece we take from what we see (Campsall, 2002).An indwelling facet of film language is its gripping temperament and its manifestation of world also known as verisimilitude. As Campsall (2002) wrote, it is not only as if the audiences are watching a bona fide window on the world, its a window that they would desire to remain on watching. Through these nub, films are not only capable of being entertaining, enlightening and informing to its viewers, but also enabling them to perceive the world in a crabbed convey. Moreover this makes the film language very much recognized as semiotic what with the usage of signs, codes and conventions. Those who could understand the language are able to see the methods or conventions used for visual storytelling.Throughout this research, there were many books and articles that give tongue to out their opinions on methods of reading a film each film jargons have their particularised symbolism and usage depending on what the direction of the story. When one is able to properly read a film by means of identifying and understanding the conventions, one would be capable of visual storytelling (Sijll, 2005). Below is the list of the accumulated conventions used in todays visual storytelling.optical Storytelling SpaceSpace in film refers to the spatial dynamics subjective in the surround of a film. One would say that a film roam is akin to a static snapshot thus deduct of a moving picture. Like a painting, the static image of the frame presents inherent storytelling opportunities. Because a movie is a motion picture, the composition of the frame continuously changes. This added di visionistics affords two important story cistrons that of screen direction and comparison. concealment direction muckle suggest antagonism, individualism, and conflict, for example. A moving frame readiness be used to represent change, similarity or its opposite, stasis. opthalmic Storytelling Framing a CompositionThe eye responds differently to various visual stimuli. Among the most important elements that have been discerned are brightness, colour, size, shape, motion, speed, and direction. Through careful manipulations these elements commode be used to guide the audiences attention and aflame response. As always, content, juxtaposition with bordering frames, and the intersection of other elements will contribute to the viewers response. visual Storytelling regulate within the FrameDepending on use and context, shapes bum be used to suggest ideas and emotions. Traditionally there are common chord fundamental shapes the circle, the square and the triangle. Out of these th ree, many forms can be derived out of them the half circle, the rectangle, and many others. For each shapes there are genuine traditional association made of them. Block (2008) listed in The ocular Story some of the shape meanings. Rounded Shapes are associated with indirectness, passive, romantic, pertaining to nature, soft organic, childlike, safe and flexible. Squares save are direct, industrial, ordered, linear, unnatural, adult, and rigidness. Triangles are for aggressiveness and dynamics. Block cautions that these are not rules for unsanded associations can always be made depending on the need of the story. Shape is merely one element in the frame. Visual Storytelling modifyEditing is a way of constricting time and space or producing the proceeds of a dream sequence or flashback. The results of editing are more often than not seamless and natural that the audiences tend not to be aware of it. In theory, editing is the constriction of scenes through assembly of shots. d issimilar choices of editing could guide the audiences emotional response. Pudovkin (1926) had set down five editing techniques that remain the foundation of the modern day snub contrast, parallelism, symbolism, simultaneity, Leit-Motif.Visual Storytelling TimeA film is a dramatic mission of life. It is made up of scenes ordered to represent the passage of film time through the assembly of edited shots. Film time is rarely paced the same as documentary life. With the exception of mise-en-scene, most edited sequences manipulate real time. From one cut to another(prenominal), an opportunity of altering experiences of real time can be made. The reason filmmakers alter time is because they are creating a dramatic story. Only those moments that contribute to its advancement are included, all else is left out.Visual Storytelling Sound and MusicOutside of the musical score, movies rely on three kinds of in force(p) to tell their stories Dialogues, voiceover and hefty effects. While voiceover and dialog are well understood to be writers tools, few screenwriters approach sound effects with the same realty. Yet sound effects are as much the purview of the writer as are visual metaphor, sound effects can also suggest an extended aural metaphor. They can add layers of meaning to a film that are hard to fulfill in other ways. Sound effects can be self-evident or subtle. They can intentionally draw attention, or manipulate with stealth. They can expose, disguise, suggest establish or reveal. They can also be associated to specific events or characters.Lyrics of music can act as the voice of a character. They can reveal the cozy thoughts in a way that can be more interesting than a simple dialogue scene. Lyrics can also act as the voice of the narrator. They add another spoken communication system with which to parcel out character and thematic information. In other times, music is symbolically used as a story element.Visual Storytelling TransitionsThe movement b etween the end of one scene and the beginning of another is called a transition. Each transition presents an opportunity to convey story information by virtue of how the scenes are cut together. The scene can hardly be cut with no intentional reference or constructed to add a story element. A matching transition is one way to exploit this opportunity and can be achieved in an infinite number of ways.Visual Storytelling Lenses, Positions and Motions of the CameraThe television photographic camera presents a scene subjects, actions, settings in a series of shots that render images on a screen. Instead of just placing the camera where an audience can watch the action, the camera is able to provide the audience with engaging visual experiences. Variety is important for if a scene is simply rendered by a continue series of wide shots, the eye will soon tires of repetitions. A good shot will usually take for a variety of camera framings, and angles. For example by exploiting the dep th of land of the lenses, each character on scene can inhabit their own horizontal plan. In this way characters can be staged in-depth. This allows the audience to see each character reacting to one event simultaneously and in real time. Different positions also play a part. The closer the camera is to a character, the more likely audiences will sympathise with the character.Visual Storytelling light up and tintFilm interprets subjects and scenes as images of light and shade. Lighting is one of the few aspects in film that has the ability to create a certain naturalism to the audience. There are a number of different styles of lighting, each designated as a style geared to the theme and mood, as well as its genre. Lightings can also be used to weaken subject matter. Colour on the other hand tends to be a subconscious element in film. Its strongly emotional in its appeal, expressive atmospheric. In short, colour helps to suggest moods.Visual Storytelling Props, Wardrobes, and Loc ationsProps provide a dramatic way to express a characters inner world. Props speak visually, are mobile, and can be returned to throughout the movie. By proposely selecting and exploiting props, a films scene can be given an added layer of meaning. Wardrobes are the same as props the decision to include wardrobe elements depends on whether it adds sufficient dramatic value be it to a character, to show character transformation or the passage of time. Another way to externalize the inner thoughts of character is to manipulate the locations. It also offers a huge storytelling potential, for a certain location can heighten drama, suggest parallels and contrast besides delimitate a character. All three can also serve the purpose of bringing a sense of metaphor to the film.ReferencesArnheim, R. 1969. Film as art. Berkeley University of calcium Press.Bellantoni, P. 2005. If its purple, someones gonna die. Amsterdam Focal Press.Bordwell, D. 1985. Narration in the fiction film. Madison, Wis. University of Wisconsin Press.Bordwell, D. Thompson, K. (2006). Film artistic production An Introduction (8th ed.). New York McGraw-HillBlock, B. (2008). The Visual Story (2nd ed.). Burlington Focal Press Campsall, S. (2002). Analysing paltry Image Texts Film Language Online. Available http//www.englishbiz.co.uk/downloads/filmanalysis.pdf 2011, January 7.CustomFlix. (Studio). (2006). Visual Culture Visual Storytelling DVD. (Available from Amazon.com)Douglass, J. Harnden, G. (1996). 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