5001 Nights at the Movies by Pauline Kael

By Pauline Kael

The clever person's consultant to the films, with greater than 2,800 reviews

Look up a film during this consultant, and likelihood is you'll end up examining on concerning the subsequent motion picture and the subsequent. Pauline Kael's experiences aren't simply provocative—-they're addictive.

These short, informative studies, written for the "Goings On approximately Town" element of the hot Yorker, supply a big variety of listings—-a masterly serious historical past of yankee and international movie. this can be most likely the single motion picture advisor you'll are looking to learn for the sheer excitement of it.

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Extra resources for 5001 Nights at the Movies

Sample text

In fact, if possible, get one you’ve already seen and enjoyed. Fast forward to any point you choose, and then freeze-frame the image. You are now looking at a single frame of a single shot. What do you notice about its mise-en-scene? Properly speaking, since this is a static image, a single frame, you are being asked to notice elements of its composition rather than the totality of expressive content in an entire shot. Remember what mise-en-scene means: all of the elements placed in front of the camera to be photographed: settings, props, lighting, costumes, makeup, and figure behavior (meaning actors, their gestures, and their facial expressions).

Still, we can clearly see some blue curtains in the center-left of the image, with some bright curved airplane windows on the far right in the background. The curtains match the blue of the seat; the windows, appearing white, match the headrest. The aspect ratio is that of a fairly wide rectangle. There is another man in the image—he is seated in the row behind the man in close-up—but he is the only other person in the image. The man in close-up has a bright light shining on his forehead and nose, but his eyes are notably in shadow, although we can clearly see dark circles under his eyes, indicating tiredness and a lack of sleep.

All the definitions and examples implied that characters and objects move within the frame, but the framing stays the same within each shot. In fact, this is not the case at all. The camera can move from side to side, up and down, backward and forward, all of the above, and more. Editing from shot to shot or scene to scene changes the position of the spectator from shot to shot or scene to scene, but camera movement shifts the spectator’s position within the shot. No other art form is able to accomplish this feat.

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