Close Reading Exercise (Sept 18)
Please write an essay (2 pages) that analyzes a single frame in Born in Flames (dir. Lizzie Borden) or 30 Second Spots (dir. Joan Logue). You can use the same frame from the Tuesday exercise or select a new one.
While we will have many opportunities to consider the complex interactions of sound, editing, and time-based movement throughout the course, this essay will provide an opportunity to slow down and consider how much we might notice in one frame. I encourage you to choose a frame that is intriguing, puzzling, and/or surprising to you.
As you look at the still, you might consider these questions:
While taking note of these formal features will help you generate many observations on the frame you chose, your essay should develop an argument that brings some of these noticings together. As you begin to think about all you’ve noted, what is the impression that this frame—and its composition—made on you as a viewer? What are the details that are most compelling? In your essay, please draw upon the most notable formal features and begin to think about and articulate an explanation for them, making an argument about what you’ve noticed. To help you organize your thinking, it can be helpful to come up with a question you want to ask of this frame and use your paper as a space to offer a provisional answer.
Please include a screenshot of the still you are analyzing on a separate page.
Essays due Friday, September 18 at midnight over email.
Please write an essay (2 pages) that analyzes a single frame in Born in Flames (dir. Lizzie Borden) or 30 Second Spots (dir. Joan Logue). You can use the same frame from the Tuesday exercise or select a new one.
While we will have many opportunities to consider the complex interactions of sound, editing, and time-based movement throughout the course, this essay will provide an opportunity to slow down and consider how much we might notice in one frame. I encourage you to choose a frame that is intriguing, puzzling, and/or surprising to you.
As you look at the still, you might consider these questions:
- Attention – What do you notice first? Does anything capture your attention or spark your curiosity in the shot?
- Camera – Is there anything notable about the camera’s position or angle? How would you describe the distance between the camera and the characters, subjects, or action? Is it a close-up? Extreme close-up? Medium shot? Wide/long shot? Does the camera look up (low angle), down (high angle), or is it eye-level (straight-on)?
- Lighting and color -- Do you notice anything about the lighting (is it high key, low key)? What effect does this lighting have? Are there dominant colors?
- Depth – How would you describe the depth? What is in the foreground? Background? Is the depth shallow (focused on a subject with other parts of frame blurred) or deep (everything in focus and sharp)?
- Density – How dense or stark is the shot? How much information is there?
- Framing – What do you notice about the framing? What is inside the frame and what is beyond the frame? Is the framing tight (subject takes up most of frame) or loose (subject is smaller in frame surrounded by background)?
While taking note of these formal features will help you generate many observations on the frame you chose, your essay should develop an argument that brings some of these noticings together. As you begin to think about all you’ve noted, what is the impression that this frame—and its composition—made on you as a viewer? What are the details that are most compelling? In your essay, please draw upon the most notable formal features and begin to think about and articulate an explanation for them, making an argument about what you’ve noticed. To help you organize your thinking, it can be helpful to come up with a question you want to ask of this frame and use your paper as a space to offer a provisional answer.
Please include a screenshot of the still you are analyzing on a separate page.
Essays due Friday, September 18 at midnight over email.