The Shot

Abstract

Abstract Composition, mise en scène, selection, establishing shots and masters, subject matter, size, and framing are considered in this chapter. Composition is understood as the formation of the frame from abstract elements—proportions, shapes, lines, shades, and colors (ikones) relating to the shot’s construction and geometry, whereas mise en scène, in one sense simply setting, refers more usefully to specific elements (characters, objects, etc.). Selection is seen as founded on significance and function of subject matter and its importance; the necessity for the coverage; connection to other shots; sustaining rhythm/flow of energy; conveying spatial relationships; passage of time; posing a question; storytelling; offering a moment of intensity; or a comment. Establishing shots, more usefully considered context shots placed anywhere in a scene, may mark structural punctuation. The master shot, a foundation of a scene’s “coverage,” facilitates consistency of performance while providing insurance for the cutting room. Various criteria of the subject of a shot are considered, and whether they prompt simple static, simple fluid, complex static, or complex fluid shots. Shot size, and its spectrum—considerable or more restricted according to the filmmaker’s chosen language—may be determined by numerous factors, perhaps conveying inherent messaging, probably functioning within a film’s visual discourse. Modulation of size may articulate narrative POV and spatial relationships. It may also be informed by detail to context or context to detail scene approaches. Multiple factors involved in shot framing are considered; what/who is in and what/who out, frames within frames, short-siding, headroom, and placing of tension for suspense/surprise are illustrated.