THE RIGHT TO INFORMATION ACT, 2005 & Role of Media

An Act to provide for setting out the practical regime of right to information for citizens to secure access to information under the control of public authorities, in order to promote transparency and accountability in the working of every public authority, the constitution of a Central Information Commission and State Information Commissions and for matters connected therewith or incidental thereto.

Whereas the Constitution of India has established democratic Republic;

And whereas democracy requires an informed citizenry and transparency of information which are vital to its functioning and also to contain corruption and to hold Governments and their instrumentalities accountable to the governed;

And whereas revelation of information in actual practice is likely to conflict with other public interests including efficient operations of the Governments, optimum use of limited fiscal resources and the preservation of confidentiality of sensitive information;

And whereas it is necessary to harmonise these conflicting interests while preserving the paramountcy of the democratic ideal;

Now, therefore, it is expedient to provide for furnishing certain information to citizens who desire to have it.

Be it enacted by Parliament in the Fifty-sixth Year of the Republic of India as follows:—

Right to Information and Role of Media
Article 19 of the Universal Declaration of Human Rights adopted by the United Nations states: “Everyone has the right to freedom of opinion and expression; this right includes freedom to hold opinions without interference and to seek, receive and impart information and ideas through any media and regardless of frontiers.”
The short section on media in the Plan of Action (C.9) states that “The media ..... have an essential role in the development of the Information Society and are recognised as an important contributor to freedom of expression and plurality of information.”
In fact, mass media is the most important vehicle for information, knowledge and communication in a democratic polity:
a) They are pervasive and play a significant role in shaping societies; they provide the public sphere of information and debate that enables social and cultural discourse, participation and accountability.
b) They are the most accessible, cost-effective and widespread source of information and platform for expression.
Information is power. The media can play a crucial role in building an inclusive Information Society based on knowledge power and its distribution. For media to fulfill its potential, actions are required in three key areas:
1. To protect and extend media freedom and independence, and rights of access to information;

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RTI Cell, ATI, Kohima.
2. To actively develop the potential of media to provide information, a forum for debate on topics of public interest, cultural expression and opportunity to communicate, especially to the poor and marginalised;
3. To strengthen the capacity of media to promote and help build an Information Society – raising awareness, channelling civil society concerns, debating policies and holding government, private sector and civil society accountable.
Traditional systems of information access in India have made journalists dependent on sources they must cultivate. Whether bureaucrats or politicians, much depends on the privilege and patronage of the individual source. Such relationships of patronage not only make journalists depend on very feudal relationships, it often makes them use the information regardless of its veracity.
An RTI regime can enable credible, evidence-based and factual reporting on key issues of public interest. It can enable the media to expose mal-administration, corruption and inefficiency and to propagate stories and instances relating to accountability, transparency, effective administration and good governance. By using the RTI Act, the media can play an important role in highlighting issues related to public service delivery and the efficacy and accountability of public officials.
Under the RTI Act, the journalists & reporters, like citizens, can:
• Demand from the Government information pertaining to any of its departments
• Demand photocopies of Government contracts, payment, estimates, measurements of engineering works etc.
• Demand from the Government certified samples of material used in the construction of roads, drains, buildings etc.
• Demand to inspect any public development work that may be still under construction or completed
• Demand to inspect Government documents - construction drawings, records books, registers, quality control reports etc.
• Demand status of requests or complaints, details of time delays, action taken on Information Commission’s decisions etc.
The media can play a constructive role in the governance process by:-
• Catalyzing Effective Implementation of the Act: As the ‘fourth pillar of democracy’, the media not only has an important stake in what the RTI Act purports to provide and achieve, but also in catalyzing and entrenching the implementation and enforcement of this significant piece of legislation.
• Providing Information to the Citizens and Building Awareness on the Act: Despite the provisions that have been made to access information, citizens resort to media like newspapers, radio, television etc. for day to day information about public authorities and their activities. The media provides a link between the citizens and their government. The media’s right to information or right to tell is not a special privilege but rather, an aspect of the public’s right to know. The media should fulfill this obligation.

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RTI Cell, ATI, Kohima.
• Giving Voice to the Citizens: As part of the civil society, the media has an obligation to articulate the needs and aspirations of the people. Using the Act, the media can highlight key issues faced by the citizens, particularly those faced by the poor and voiceless.
• Acting as a Watchdog on behalf of the Citizens: The best service that the media can provide to the public, whether in a mature or emerging democracy, is that of a community watchdog. Journalists should see and perform their role keeping in mind public interest. Using RTI, the media can expose corruption and inefficiency. However, in performing a watchdog role and digging out the truth, journalists should be careful in interpreting facts and evidence.
It is important that the media plays the role of an honest broker of information for its readers without deliberate bias or favouritism. The media must consider its independence to be its most valuable commercial, editorial and moral asset. Maintaining its independence through professional behaviour and a code of conduct that is subscribed to by all journalists, the media can be a powerful user of the RTI Act and an agent for the empowerment of people through an Information Society. The objective of the Act to usher in a practical regime of right to information cannot be attained without a proactive role played by the media.
Suggested Areas for Action by the Media
The following section provides cues for the media to use the RTI Act in discharging the following roles:
• In monitoring implementation of the Act
• In reporting on the effectiveness & efficiency of public service delivery
• In highlighting corruption and fraud related issues
• In highlighting citizen grievances
• In highlighting significant cases or efforts made by organisations/individuals on RTI.
However, it needs to be noted that the suggested areas are selective and are provided only to guide the media to effectively use the RTI Act provisions.

Film & TV Production Roles and Departments

KEY CREATIVE TEAM

Producer

The producer initiates, coordinates, supervises, and controls matters such as raising funding, hiring key personnel, contracting and arranging for distributors. The producer is involved throughout all phases of the process from development to completion of a project.

Director

The director is responsible for overseeing the creative aspects of a film, including controlling the content

and flow of the film's plot, directing the performances of actors, selecting the locations in which the film will be shot, and managing technical details such as the positioning of cameras, the use of lighting, and the timing and content of the film's soundtrack.

Screenwriter

Screenwriters or scriptwriters are responsible for researching the story, developing the narrative, writing the screenplay, and delivering it, in the required format, to the Producers. They are almost always freelancers who either pitch original ideas to Producers in the hope that they will be optioned or sold, or who are commissioned by a Producer to create a screenplay from a concept, true story, existing screenwork or literary work, such as a novel or short story.

PRODUCTION DEPARTMENT

Executive Producer

An executive producer is usually an investor in the project or someone who has facilitated the funding of the project. There may be multiple executive producers on a project, depending on the financing arrangements.

Line Producer

Typically, a line producer manages the budget of a film production. Alternatively, or in addition, they

may manage the day to day physical aspects of the film production.

Production Manager

The production manager supervises the physical aspects of the production including personnel, technology, budget, and scheduling. It is the PM’s responsibility to make sure the filming stays on schedule and within its budget. The PM often works under the supervision of a line producer and directly supervises the Production Coordinator.

Production Coordinator

The production coordinator is the information nexus of the production, responsible for organising all the logistics from hiring crew, renting equipment, and booking talent. The PC is an integral part of film production.

Production Secretary

The Production Secretary provides administration assistance in the production office to the production co-ordinator and production manager.

Production Accountant

Production accountants are responsible for managing finances and maintaining financial records during film production. They work closely with the Producer and the production office to manage the day-to- day accounting office functions, and report on the project’s financial progress against the budgets (cost reporting).

Post-production Supervisor

Post-production supervisors are responsible for the post production process, during which they maintain clarity of information and good channels of communication between the Producer, Editor, Supervising Sound Editor, the Facilities Companies (such as film labs, CGI studios and negative cutters) and the Production Accountant.

First Assistant Director

The first assistant director (1st AD) assists the production manager and director. They oversee day-to-day management of the cast and crew scheduling, equipment, script, and the set. They ensure the filming comes in on schedule while maintaining a working environment in which the director, principal artists (actors) and crew can be focused on their work.

Second Assistant Director

The second assistant director (2nd AD) is the chief assistant of the 1st AD and helps carry out those tasks delegated to the 1st AD. The 2nd AD works closely with the Production Coordinator to create the daily Call Sheets that let the crew know the schedule and important details about the shooting day.

Third Assistant Director

The third assistant director (3rd AD) works on set with the "First" and may liaise with the "Second" to move actors from unit base, organise crowd scenes, and supervise one or more production assistants.

Production Assistant/Production Runner

The production assistant or runner assists the first assistant director with on-set operations. PAs also assist in the production office with general tasks.

Script Supervisor

Also known as "continuity", keeps track of what parts of the script have been filmed and makes notes of any deviations between what was actually filmed and what appeared in the script. They make notes on

every shot, and keep track of props, blocking, and other details to ensure continuity from shot to shot and scene to scene.

Stunt Coordinator

Where the film requires a stunt, and involves the use of stunt performers, the stunt coordinator will arrange the casting and performance of the stunt, working closely with the Director.

SCRIPT DEPARTMENT

Story Producer

The story producer has overall responsibility for the story across episodes. In reality TV, the story producer is responsible for creating a story line via editing/producing the show's source footage. They may also be responsible for writing the host’s dialogue.

Script Editor

Provides a critical overview of the screenwriting process, using their analytical skills to help the screenwriter identify problems and thereby help to strengthen and develop the screenplay.

Script Co-ordinator

The script coordinator is responsible for producing each draft of the script and annotating it for ease of use for the production team.

LOCATION DEPARTMENT

Location Manager

The location manager is responsible for finding and securing locations to be used for the production and coordinating the logistics, permits and costs involved. They are also the face of the production to the community .

Location Assistant

Assists the location manager and is on-set before, during, and after the filming process. General responsibilities include arriving first at the location to allow the set dressers onto the set; maintaining the cleanliness of the location areas during filming and fielding complaints from neighbors.

Location Scout

Responsible for the initial scouting of locations for the production, taking into account production logistics, eg location fees and budgetary restrictions, local permitting costs and regulations, camera and lighting requirements, convenience to other locations, production services, crew and unit parking.

CAMERA DEPARTMENT

Director of Photography/Cinematographer

The director of photography is the head of the camera and lighting department of the film. The DoP makes decisions on lighting and framing of scenes in conjunction with the film's director.

Camera Operator

The camera operator operates the camera under the direction of the director of photography, or the film director, to capture the scenes on film. Depending on the camera format being used for filming (eg film or digital), a director of photography may not operate the camera, but sometimes these two roles are combined.

First Assistant Camera (Focus Puller)
The first assistant camera (1st AC) is responsible for keeping the camera in focus while it is shooting.

Second Assistant Camera (Clapper Loader)
The second assistant camera (2nd AC) operates the clapperboard at the beginning of each take and loads the raw film stock into the camera magazines between takes. Also oversees the log books that record when the film stock is received, used, and sent to the lab for processing.

Loader

The loader transfers the film from the manufacturer's light-tight canisters to the camera magazines for attachment to the camera by the 2nd AC. After filming, the loader then removes the film from the magazines and places it back into the light-tight cans for transport to the lab.

Camera Production Assistant

Usually a trainee in the camera department, the camera PA assists the crew with menial details while

learning the trade of the camera assistant, operator or cinematographer.

Digital Imaging Technician (DIT)
On digital productions the digital imaging technician is responsible for the coordination of the internal workings of the digital camera. Under the direction of the director of photography, the DIT will make adjustments to the multitude of variables available in most professional digital cameras to manipulate the resulting image.

Data Wrangler

On digital productions the data wrangler is responsible for managing the transfer of data from the camera to a computer and/or hard drive.

Steadicam Operator

The steadicam operator is someone who is skilled at operating a Steadicam (trademark for a camera stabilization rig).

Motion Control Technician/Operator

This technician operates a motion control rig, which essentially is a 'camera robot' able to consistently repeat camera moves for special effects use.

Video Split/Assist Operator

A video split is used by directors to watch a monitor during each take. This is captured by special recorders fitted to film cameras next to the eye piece.

SOUND DEPARTMENT

Production Sound Mixer (Sound Recordist)

The production sound mixer is head of the sound department on set, responsible for recording all sound during filming. This involves the choice of microphones, operation of a sound recording device, and sometimes the mixing of audio signals in real time.

Boom Operator (Boom Swinger)

The boom operator is responsible for microphone placement and movement during filming. The boom operator uses a boom pole to position the microphone above or below the actors, just out of the camera's frame.

GRIP DEPARTMENT

Grips are trained lighting and rigging technicians. Their main responsibility is to work closely with the electrical department to put in lighting set-ups required for a shot.

Key Grip

The key grip is the chief grip on a set, and is the head of the set operations department. The key grip works with the director of photography to help set up the set and to achieve correct lighting and blocking.

Best Boy (Grip)

The best boy grip is chief assistant to the key grip. They are also responsible for organizing the grip truck

throughout the day.

Dolly Grip

The grip in charge of operating the camera dolly is called the dolly grip. They place, level, and move the dolly track, then push and pull the dolly, and usually a camera operator and camera assistant as riders.

ELECTRICAL DEPARTMENT

Gaffer

The gaffer is the head of the electrical department, responsible for the design and execution of the lighting plan for a production. Sometimes the gaffer is credited as "Chief Lighting Technician".

Best Boy (Electrical)

The best boy electric is the chief assistant to the gaffer.

Lighting Technician

Lighting technicians are involved with setting up and controlling lighting equipment.

ART DEPARTMENT

Production Designer

Responsible for creating the physical, visual appearance of the film - settings, costumes, props, character makeup.

Art Director

Oversees the artists and craftspeople who give form to the production design as it develops.

Set Designer

The set designer is the draftsman, often an architect, who realizes the structures or interior spaces called for by the production designer.

Illustrator

The illustrator creates visual representations of the designs to communicate the ideas imagined by the production designer.

Set Decorator

The set decorator is in charge of decorating the set, including the furnishings and all the other objects that will be seen in the film.

Buyer

The buyer locates, and then purchases or rents the set dressing.

Set Dresser

The set dressers apply and remove the "dressing", i.e., furniture, drapery, carpets—everything one would find in a location, even doorknobs and wall sockets.

Props Master

In charge of finding and managing all the props used in the film. Usually has several assistants.

Standby Props

Work on set during the filming of a scene, overseeing the use of props, and monitoring their continuity. They are able to respond quickly to requests for moving props and fixtures and to help position actors, crew 

and equipment.

Props Builder

Props builders are technicians skilled in construction, plastics casting, machining & electronics.

Armourer

The armourer is a specialized props technician who deals with firearms.

Construction Coordinator/ Construction Manager

Orders materials, schedules the work, and supervises the construction crew of carpenters, painters and labourers.

Key Scenic

Responsible for the surface treatments of the sets, including special paint treatments such as aging and gilding, simulating the appearance of wood, stone, brick, metal, etc.

Greensman

Deals with the artistic arrangement or landscape design of plant material.

HAIR AND MAKE-UP DEPARTMENT

Make-up Artist

Make-up artists work with makeup, hair, prosthetics and special effects to create the characters look for anyone appearing on screen. Their role is to manipulate an actors on screen appearance.

Hairdresser

The hair stylist is responsible for maintaining and styling the hair of anyone appearing on screen. They work in conjunction with the makeup artist.

WARDROBE DEPARTMENT

Costume Designer

The costume designer is responsible for all the clothing and costumes worn by the cast. They design and plan construction of the garments down to the fabric, colours, and sizes.

Costume Supervisor

The costume supervisor works closely with the designer to supervise the creation or sourcing of garments, hiring of support staff, budget, paperwork, and department logistics.

Costume Standby

The costume standby is present on set at all times to monitor the quality and continuity of the actors and actresses costumes before and during takes. They also assist the cast with dressing.

Art Finisher

An art finisher may be employed during pre-production to "break down" garments. This specialised job includes making new clothing appear dirty, faded and worn.

Buyer

On large productions a buyer may be employed to source and purchase fabrics and garments.

Cutter/Fitter

A costume technician who fits or tailors costumes, usually on-set. They can also be called seamstresses or tailors.

POST PRODUCTION

Film Editor (Offline Editor for video productions)

Assembles the various shots into a coherent film, working closely with the director.

Assistant Editor

Assists the editor by collecting and organising all the elements needed for the edit.

Online Editor (for video productions)

When the offline edit is complete, adds visual effects, titles, and applies color correction. Also ensures that the program meets the technical delivery specifications.

Colourist

Adjusts the colour of the film to achieve greater consistency.

Negative Cutter

Cuts and splices the film. Provides assembled negative reels to the lab for prints to be made.

VISUAL EFFECTS (VFX) 

Visual Effects Supervisor

The visual effects supervisor is in charge of the visual effects department.

Compositor

A compositor is a visual effects artist responsible for compositing images from different sources such as video, film, computer generated 3-D imagery, 2-D animations, matte paintings and text.

Roto/Paint Artist

Manually creates mattes for use in compositing. May also paint visual information out of a scene, such

removing wires and rigs, logos and scratches.

Matte Painter

These artists draw/paint entire sets or extend portions of an existing set.

POST PRODUCTION - SOUND/MUSIC Sound Designer

In charge of the post-production sound of a movie.

Dialogue Editor

Responsible for assembling and editing all dialogue in the soundtrack.

Sound Editor

Responsible for assembling and editing all sound effects in the soundtrack.

Re-recording Mixer

Balances the sounds prepared by the dialogue, music and effects editors.

Music Supervisor

Works with the composer, mixers and editors to create and integrate the film's music. Negotiates licensing of the necessary rights for all source music used in a film.

Composer

The composer is responsible for writing the musical score for a film.

Foley Artist

Creates and records many of the sound effects for a film.

OTHER PRODUCTION CREW

Casting Director

Works closely with the Director and Producer to understand requirements, suggests artists for each role, as well as arranging and conducting interviews and auditions.

Storyboard Artist

Visualises stories using sketches on paper. Quick pencil drawings and marker renderings are two of the most common traditional techniques, although nowadays Flash, Photoshop and specialist storyboard software applications are being used more often.

Provides first aid cover and primary healthcare to the cast and crew on a film production. This includes ensuring that people are looking after their own health.

Caterers

Catering is provided by specialist companies who drive catering trucks packed with food and a range of equipment including ovens, gas and water to each Unit Base for filming.

Unit Nurse

Unit Publicist

Responsible for Unit press and the publicity budget set by Producers. Work on a freelance basis, and are hired only for the duration of each shoot, although may also be employed to handle distribution publicity in the run-up to the film's release.

Stills Photographer

Stills Photographers usually work on set, recording scenes from the film, but they may also be required to set up photographs in the style of the film in a studio environment.

INTERACTIVE MEDIA

Producer

Identifies and specifies the product’s high-level requirements or purpose, ensuring that its business objectives and creative vision are understood and maintained by everyone involved in the project. This is a senior, client-facing role that requires expertise in business, management, content, design and technical disciplines.

Designer

Creates the 'look and feel' of an interactive media product. Produces visuals of user interfaces, using software such as Adobe Photoshop or Illustrator. They usually follow a design brief that may be given as verbal instructions, a written specification or 'wire–frame' diagrams.

Developer

Developers use authoring tools, mark-up languages and scripting languages to create the product. Sometimes this will be according to designs created by someone else (such as a Designer); other times the Developer may design the product as well.

Production Assistant

Contributes to the production of an interactive media product by helping other members of the team. Usually works with the Designer and Developer or with a Web Editor. Often taken on as interns.

Studio Manager

Ensures the smooth running of an interactive media studio, managing the team, overseeing the work and liaising with other departments within the company. May also set up the studio and recruit staff.

Project Manager

Plans, schedules and co-ordinates interactive media development projects, ensuring they run smoothly, on time and within budget. Focuses on the mechanics of running the project rather than creative requirements.

Account Manager

Develops, maintains and improves relationships with existing clients, ensuring their needs are met, and obtaining repeat business from them.

New Business Developer

Generates business for the interactive organisation or agency.

Content Strategist

Scopes and plans interactive media product’s content and determines its overall style - what to say, how to say it effectively, when and where to say it.

Information Architect

Interprets high-level requirements in order to design the overall user experience of an interactive media product.

Web Editor

Plans and oversees the on-going management of a web site and the publication of content to it. This may involve writing copy from scratch, or coordinating and editing contributions from others.

SEO Specialist (Search Engine Optimisation)
Optimises a web site or pages to make them as visible as possible to Internet search engines, in order to maximise traffic to them.

Programmer

Produces computer software in order to give a product its functionality. Similar to the Developer role but is usually more purely technical and focuses on high-level programming rather than scripting – although they often overlap. It does not usually involve visual or interface design, but may include technical design, such as devising systems or databases.

Usability Specialist

Ensures an interactive media product meets the needs of its intended audiences through analysis, evaluation and testing of the user experience. This is very much a research-led role, but it may sometimes also require technical skills.

The Fifteen Points of Mise-en-Scene

The Fifteen Points of Mise-en-Scene

The Fifteen Points of Mise-en-Scene

(by Prof. Heather Graves, DePaul University)

Tip: The important part of a mise en scene analysis is not just identifying the components of the shot, but explaining the meaning or significance behind those components and connecting the shot to the themes of the film.

Ghost World (2001)

1. Dominant

Where is our eye attracted first? Why?

The dominant contrast can be created by any number of techniques. The size of an object may draw our attention to it. In black and white movies, the dominant contrast is generally achieved through a juxtaposition of lights and darks. In color films, the dominant is often achieved by having one color stand out from the others. Placing one object in sharper focus than the rest of the shot can also create a dominant.

The dominant in this shot from the film Ghost World is the character of Enid, played by Thora Birch. The dominant is created by:

1. 1. 1.Size. She’s one of the two largest objects in the shot.
   2. 2.Focus. She’s one of the two objects in focus.
   3. 3.Lighting. Unlike Seymour (Steve Buscemi), who’s also large and in focus, Enid is highlighted by a shaft of light.
   4. 4.Color. Enid wears a bright blue top while the rest of the shot is composed of variations of brown.
2. 
   

2.  Lighting Key

High key? Low key? High contrast? Some combination of these?

1. 1.High key lighting–features bright, even illumination and few conspicuous shadows. This lighting key is often used in musicals and comedies.
2. 2.Low key lighting–features diffused shadows and atmospheric pools of light. This lighting key is often used in mysteries and thrillers.
3. 3.High contrast lighting–features harsh shafts of lights and dramatic streaks of blackness. This type of lighting is often used in tragedies and melodramas.

The lighting key in this shot is moderate. The scene is not brightly lit, but there isn’t a lot of shadows either. Also, there isn’t a great contrast between lights and darks in the shot. Moderate lighting fits the genre, a character-based comedy/drama. It’s not as bright as a light comedy, as dark as a thriller, or as dramatic as a tragedy or melodrama.

3.  Shot and Camera Proxemics

What type of shot? How far away is the camera from the action?

Shots are defined by the amount of subject matter that’s included within the frame. They can be divided into six basic categories:

1. 1.Extreme long shot–taken from a great distance, showing much of the locale. If people are included in these shots, they usually appear as mere specks.
2. 2.Long shot–corresponds to the space between the audience and the stage in a live theater. The long shots show the characters and some of the locale.
3. 3.Full shot–range with just enough space to contain the human body in full. The full shot shows the character and a minimal amount of the locale.
4. 4.Medium shot–shows the human figure from the knees or waist up.
5. 5.Close-up–concentrates on a relatively small object and show very little if any locale.
6. 6.Extreme close-up–focuses on an unnaturally small portion of an object, giving that part great detail and symbolic significance.

This shot is a medium shot. The two characters are shown from the thighs up.

4. Camera Angle

Are we (and the camera) looking up or down on the subject? Or is the camera neutral (eye level)?

There are five basic angles in film.

1. 1. 1.Bird’s-eye view–the shot is photographed directly from above. This type of shot can be disorienting, and the people photographed seem insignificant.
   2. 2.High angle–this angle reduces the size of the objects photographed. A person photographed from this angle seems harmless and insignificant, but to a lesser extent than with the bird’s-eye view.
   3. 3.Eye-level shot–the clearest view of an object, but seldom intrinsically dramatic, because it tends to be the norm.
   4. 4.Low angle–this angle increases high and a sense of verticality, heightening the importance of the object photographed. A person shot from this angle is given a sense of power and respect.
   5. 5.Oblique angle–for this angle, the camera is tilted laterally, giving the image a slanted appearance. Oblique angles suggest tension, transition, a impending movement. They are also called canted or dutch angles.
2. 
   

This shot is eye-level. The scene is not highly dramatic and no power relationship is being suggested between the two characters.

5. Color Values

What is the dominant color? Are there contrasting foils? Is there color symbolism?

The use of color in this shot is symbolic. The scene is set in Seymour’s kitchen. Seymour’s apartment, like Seymour himself, is very drab. Both the set and Seymour are dressed in browns.

Enid, on the other hand, is dressed in bright blue. She is not only a contrasting foil for Seymour and the shot, but she will metaphorically add some “color” to his life.

6.  Lens/Filter/Stock

How do these distort or comment on the photographed materials?

Common lenses and stocks:

1. •Telephoto lens–A lens that draws objects closer but also diminishes the illusion of depth.
2. •Wide-angle lens–A lens that takes in a broad area and increases the illusion of depth but sometimes distorts the edges of the image.
3. •Fast film stock–highly sensitive to light, it can register an image with little illumination. However, the final product tends to be grainy.
4. •Slow film stock–relatively insensitive to light, it requires a great deal of illumination. The final product tends to look polished.

The lens is not wide-angle because there isn’t a great sense of depth, nor are several planes in focus. The lens is probably long but not necessarily a telephoto lens because the depth isn’t inordinately compressed.

The stock is slow because of the high quality of the image.

7. Subsidiary Contrasts

After taking in the dominant, where does the eye go next? What are the other main objects in the shot besides the dominant?

The main subsidiary contrast in this shot is Seymour. He doesn’t stand out as much as Enid because his clothes blend in with the background and he doesn’t have as much light on him as she does. However, his size is significant, and he’s in focus. The other subsidiary contrast is the box in front of the couple. It’s the only other object in focus.

8. Density

How much visual information is packed into the image? Is the texture stark, moderate, or highly detailed?

Although there a lot of objects in the background, the image is not very dense because the focus limits the viewer to taking in only three main objects: Enid, Seymour, and the box in front of them.

9. Composition

How is the two-dimensional space segmented and organized? What is the underlying design?

The objects in the frame can be placed to suggest underlying designs or shapes.

1. •Horizontal–compositions based on horizontal lines seem visually at rest and suggest placidity or peacefulness.
2. •Vertical–compositions based on vertical lines seem visually at rest and suggest strength.
3. •Diagonal–compositions based on diagonal, or oblique, lines seem dynamic and suggest tension or anxiety.
4. •Binary–binary structures emphasize parallelism.
5. •Triangle–triadic compositions stress the dynamic interplay among three main elements.
6. •Circle–circular compositions suggest security and enclosure.

This shot has a binary composition. The two characters are facing each other, standing in almost the same position. Their standing also gives the shot a strong vertical sense.

10. Form

Is the form open or closed? Does the image suggest a window that arbitrarily isolates a fragment of the scene? Or a proscenium arch, in which the visual elements are carefully arranged and held in balance?

The most nebulous of all the categories of mise en scene, the type of form is determined by how consciously structured the mise en scene is. Open forms stress apparently simple techniques, because with these unself-conscious methods the filmmaker is able to emphasize the immediate, the familiar, the intimate aspects of reality. In open-form images, the frame tends to be deemphasized. In closed form images, all the necessary information is carefully structured within the confines of the frame. Space seems enclosed and self-contained rather than continuous.

The form of this shot is open. The shot doesn’t seem highly composed. The shot is natural, simple, and unstructured, as if it’s a window arbitrarily cutting off a portion of the scene. All the necessary information is not contained in the one shot, as we see by the third character cut off by the right edge of the frame.

11. Framing

Is the framing tight or loose? Do the character have no room to move around, or can they move freely without impediments?

1. •Shots where the characters are placed at the edges of the frame and have little room to move around within the frame are considered tight.
2. •Longer shots, in which characters have room to move around within the frame, are considered loose and tend to suggest freedom.

The framing in this shot is moderately loose. There seems to be a whole body width between the characters and the edges of the frame.

12.  Depth of Field

On how many planes is the image composed (how many are in focus)? Does the background or foreground comment in any way on the mid-ground?Deep-focus shots allow all planes to be in focus at the same time. More commonly, only one or two frames are in focus.

This shot is shallow. Only one plane is in focus, isolating the characters from what is going on in the rest of the scene.

13. Character Placement

What part of the framed space do the characters occupy? Center? Top? Bottom? Edges? Why?

1. •The area near the top of the frame can suggest ideas dealing with power, authority, and aspiration.
2. •The areas near the bottom of the frame tend to suggest meanings opposite from the top: subservience, vulnerability, and powerlessness.
3. •The left and right edges of the frame tend to suggest insignificance because these are the areas farthest removed from the center of the screen.

The characters are centered in the frame. They are the important objects in this character-focused drama.

14. Staging Positions

Which way do the characters look vis-a-vis the camera?

An actor can be photographed in any of five basic positions, each conveying different psychological overtones.

1. 1. 1.Full-front (facing the camera): the position with the most intimacy. The character is looking in our direction, inviting our complicity.
   2. 2.Quarter Turn: the favored position of most filmmakers. This position offers a high degree of intimacy but with less emotional involvement than the full-front position.
   3. 3.Profile (looking of the frame left or right): More remote than the quarter turn, the character in profile seems unaware of being observed, lost in his or her own thoughts.
   4. 4.Three-quarter Turn: More anonymous than the profile, this position is useful for conveying a character’s unfriendly or antisocial feelings, for in effect, the character is partially turning his or her back on us, rejecting our interest.
   5. 5.Back to Camera: The most anonymous of all positions, this position is often used to suggest a character’s alienation from the world. When a character has his or her back to the camera, we can only guess what’s taking place internally, conveying a sense of concealment, or mystery.
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Both characters are shown in profile. The characters are focused on each other, not the outside world.

15. Character Proxemics

How much space is there between the characters?

The way people use space can be divided into four proxemic patterns.

1. 1. 1.Intimate distances: the intimate distance ranges from skin contact to about eighteen inches away. This is the distance of physical involvement–of love, comfort, and tenderness between individuals.
   2. 2.Personal distances: the personal distance ranges roughly from eighteen inches away to about four feet away. These distances tend to be reserved for friends and acquaintances. Personal distances preserve the privacy between individuals, yet these rages don’t necessarily suggest exclusion, as intimate distances often do.
   3. 3.Social distances: the social distance rages from four feet to about twelve feet. These distances are usually reserved for impersonal business and casual social gatherings. It’s a friendly range in most cases, yet somewhat more formal than the personal distance.
   4. 4.Public distances: The public distance extends from twelve feet to twenty-five feet or more. This range tends to be formal and rather detached.
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The distance in this shot is intimate, showing that the characters are good friends and are comfortable with each other at this point in the movie.