British Universities Film & Video Council

moving image and sound, knowledge and access

Lessons in Visual Language (10 Parts)

Synopsis
Series examining the language of moving pictures, revealing the basics of vision that we all take for granted.
1 (1978): An introduction to off-screen and concrete space - the film-maker’s world as opposed to audience reality, defining the scale of objects, creating tension, revealing information outside the frame, and giving a feeling of depth. Discusses how the positioning of the camera can ‘put a frame around the world’ and that the choice of framing can define relationships, tell a story, and coveny emotion.
2 (1978): Defines the basic shot types of the films and video vocabulary and deals with common framing faults and how to correct them.
3 (1978): Introduces the idea of optical illusion and the way it relates to our perception of depth in the two-dimensional image.
4 (1978): Refutes the idea that lens focal length affects the appearance of depth, showing that camera-to-subject distance is the governing factor in the perception of spatial relations in the third dimension.
5 (1978): The movement of the camera must accommodate but not duplicate the movement of the human eye. This programme analyses movement with careful attention to movement within the frame, movement of the frame itself, and movement of the camera.
6 (1978): Discusses how the camera is used to create a sense of balance and explores the relationship between what we see and our physical sense of equilbrium. Notes that the credibility of the viewed image is critically dependent on the skill of the camera operator, and that there are a variety of techniques available to challenge the way we see the world.
7 (1979): Examines some of the mystery and magical power of cinema by exploring visual qualities of the image such as luminosity, clarity of detail, grain and filtration, all of which can be used to determine our emotional and psychological relationship to the projected image.
8 (1979): Explores the techniques of freeze-frame, slow motion, use of multiple cameras and repeat single cameras in the context of the manipulation of time and concepts in editing.
9 (1979): Examines the different elements of rhythm within a scene or series of scenes. Investigates the concept of film rhythm, which can be accomplished by music, movement and editing, and how the director can provide and individual crative rhythm.
10 (1979): Explores the wide-ranging forms and functions of music for the screen. Composer Bruce Smeaton discusses the structure and purpose of the music he has composed for this film; the discussion combines with the music in the dramatised scenes to highlight the evocative and emotive power of film music.
Language
English
Country
Australia
Medium
Video; Videocassette. VHS. col. 10, 9, 7, 9, 11, 11, 14, 10, 10, 15 min.
Year of production
1978-79
Availability
Sale
Notes
AVRC tape VP744 contains parts 1-3 only.
Subjects
Media studies
Keywords
film theory; visual perception

Credits

Producer
Peter Thompson
Contributor
Bruce Smeaton
Cast
Peter Thompson 

Sections

Title
Framing
Synopsis
1 (1978): An introduction to off-screen and concrete space - the film-maker's world as opposed to audience reality, defining the scale of objects, creating tension, revealing information outside the frame, and giving a feeling of depth. Discusses how the

Title
Shot sizes and framing faults
Synopsis
2 (1978): Defines the basic shot types of the films and video vocabulary and deals with common framing faults and how to correct them.

Title
Third dimension, The 1
Synopsis
3 (1978): Introduces the idea of optical illusion and the way it relates to our perception of depth in the two-dimensional image.

Title
Lenses and perspective
Synopsis
4 (1978): Refutes the idea that lens focal length affects the appearance of depth, showing that camera-to-subject distance is the governing factor in the perception of spatial relations in the third dimension.

Title
Movement and moving the camera
Synopsis
5 (1978): The movement of the camera must accommodate but not duplicate the movement of the human eye. This programme analyses movement with careful attention to movement within the frame, movement of the frame itself, and movement of the camera.

Title
Orientation of the camera
Synopsis
6 (1978): Discusses how the camera is used to create a sense of balance and explores the relationship between what we see and our physical sense of equilbrium. Notes that the credibility of the viewed image is critically dependent on the skill of the came

Title
Image and screen: illusion and reality
Synopsis
7 (1979): Examines some of the mystery and magical power of cinema by exploring visual qualities of the image such as luminosity, clarity of detail, grain and filtration, all of which can be used to determine our emotional and psychological relationship t

Title
Editing
Synopsis
8 (1979): Explores the techniques of freeze-frame, slow motion, use of multiple cameras and repeat single cameras in the context of the manipulation of time and concepts in editing.

Title
Rhythm
Synopsis
9 (1979): Examines the different elements of rhythm within a scene or series of scenes. Investigates the concept of film rhythm, which can be accomplished by music, movement and editing, and how the director can provide and individual crative rhythm.

Title
Music
Synopsis
10 (1979): Explores the wide-ranging forms and functions of music for the screen. Composer Bruce Smeaton discusses the structure and purpose of the music he has composed for this film; the discussion combines with the music in the dramatised scenes to hig

Distributor

Name

Australian Film, Television and Radio School

Email
direct.sales@aftrs.edu.au
Web
http://www.aftrs.edu.au/shoponline/ External site opens in new window
Phone
+61 2 805 6455
Fax
+61 2 887 1030
Address
PO Box 126
North Ryde
New South Wales 2113
AUSTRALIA

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