Conceptual Tools of Cinematography.

Cinematography as a whole is down to seven different conceptual tools, which pieced together create the image that we see onscreen. Without any of these tools, cinematography itself wouldn't work. None can work without the other. These are the tools I will be focusing on when I come to the realisation of my own set later on.

The Frame / The Lens / Texture / Light & Colour / Movement / Establishing

THE FRAME


Framing is one of the primary aspects that constitutes cinematography. I find it focuses on the position of objects or characters within the frame, which creates something of a visual metaphor. It tends to be the case that everything we see in shot has been put there for a reason. One thing that seems to consistently pop up in some of the better cinematography I've seen is the use of the lines of perspective.

What the lines of perspective tend to achieve is drawing the audience's attention to something. They are visually pleasing to look at and easy to follow. If there is an important element within the frame, the lines of perspective tend to highlight this with all the lines pointing towards it.

Example of lines of perspective pointing towards the focal area of the frame - the door at the end of the corridor.






THE LENS

Rather than the lens itself, which is of course important, as a conceptual tool of cinematography, the lens refers to the idea of how it projects an image onscreen in numerous different ways. Be that through depth of field, or perhaps how much sharpness or contrast it has. Different lens' used in different ways can produce different images, and are used by filmmakers to convey, just like with framing, a visual metaphor. One of the best examples I can think of is the shot from Seven where we see the lead characters Somerset and Mills being lead by John Doe to a secret location. The lens here has been manipulated to create what's called a long lens compression shot.

Standard example of a long lens compressions shot.

Long lens compression shot from Seven.







Blain Brown in his book Cinematography: Theory and Practice states, in relation to this shot from Seven, that "the extremely long lens compresses the space and makes the transmission towers seem like they are right on top of each other: the visual metaphor it establishes is a spider’s web, a trap— which is exactly what it turns out to be". This is a classic example of how a lens is used in a specific way in order to manipulate an image to illustrate another meaning.


TEXTURE

In terms of texture within cinematography, it relates to the manipulation of an image during the post-production process of filmmaking. Texture is typically added to a film in order to add some kind of deeper meaning to an image, as with any of the other conceptual tools of cinematography. It could be in the form of colour correction, or filters, which enhance a particular mood, or setting.

In Schindler's List, we see the classic image of the unknown girl in the red coat. The use of the black and white throughout the film depicts an idea of a lack of hope. Yet with this red dress we see perhaps a symbol of hope, or innocence. She is oblivious to the destruction ensuing around her.

In Children of Men, there are tones of blues and blacks throughout it's entirety. This undertones a depressed feeling, similar to Schindler's List - a lack of hope or security. There is no warmth to the image and the narrative reflects that.





LIGHT & COLOUR

Whilst texture, for me, tends to focus more on the overall mood of a scene, with lighting and colour it can effect the cinematography on a much deeper level, particularly with the characters onscreen. In my opinion, only so much can be done with filters and post-production manipulation. With onset lighting, so much more depth can be added to a character, enhancing the cinematography even further. One of my favourite examples is from Apocalypse Now.

To an extent, the performance of Marlon Brando here demonstrates a certain degree of mental instability. What enhances this is the lighting on his face - one half being lit brightly, and the other in complete darkness. This denotes a metaphorical sense of two personalities which couldn't be conveyed any other way than with lighting.



MOVEMENT

Movement is another important aspect within cinematography. It can be used for climatic events in the narrative, perhaps revealing a vital piece of information or a twist in the story. A great modern example of this from Breaking Bad in one of the final scenes where we see Walt revealed in the kitchen to be with Skyler, despite a phonecall from Marie warning Skyler that Walt is in the area.

Walt is revealed via camera movement to be in the kitchen along with Skyler, providing a shocking moment in the series.








ESTABLISHING

Establishing shots are just as vitally important as any other attribute in cinematography, with it's primary purpose being to give the audience context to the scene that is about to be introduced. From what I've seen, it's typically an extreme wide shot, revealing the setting and giving the audience an idea of what to expect. Moreover, whilst all these conceptual tools can be merged together, particularly with establishing shots we can see a lot of movement as well added with these as well, perhaps revealing something as well in addition to setting the scene. One of my favourite examples of an establishing shot merged with movement as well to set a scene is from The Shawshank Redemption, where we see the entirety of the outside of the prison. This gives the audience a sense of where Andy Dufresne will be imprisoned.