Learning on ScreenLessons 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
- 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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