Intro to Film 2025 • Professor Gregory Zinman • Emory University

Category: Week 4 (9/15 + 9/17) • Cinematography

  • Chapter 5: “The shot: Cinematography”

    This chapter covered a wide range of different cinematic techniques, including the use of lighting and perspective. The chapter breaks up into 3 main categories with subcategories:

    1. The photographic Image
      • Tonalities
      • Speed of motion
      • Perspective
    2. Framing
      • Frame dimensions and shape
      • Onscreen and offscreen space
      • Camera Position
      • Camera Movement
    3. Duration of the image
      • The long Take

    I thought that this chapter did a great job in giving even a glimpse into the wide scope of cinematography. 3 categories are further broken into 8 subcategories, each containing pages of information. The main lesson I took away from this chapter is the wide range of things that one can do just with changing a few things on a camera, each resulting in a totally new shot with a new feel.

    As I was starting this chapter by reading about contrast, the film that jumped to mind (and specific shot) was Paths of Glory (1957, Kubrick). This shot specifically uses a high contrast to be able to visualize the light shining in on the prisoner from outside, representing the light he is gaining from the priest in his final moments. The shot also uses negative space to scream in the viewers face that the prisoner is isolated and lonely. Shot in black and white, this shot uses low-key lighting compared to the rest of the film to emphasize the character’s internal darkness.

    Another movie that is filled with absolutely beautiful cinematography is 2001: A Space Odyssey (1968, Kubrick). Another Kubrick masterpiece consistently demonstrates how cinematography adds to the story of a film. In this specific shot, a character’s lips are being read, as he speaks in private to his crewmate. The shot is silent, but with the use of masking, the viewer’s attention is drawn to the character’s lips, telling us that they are the object of interest. This is a perfect demonstration of how masking combined with a close-up shot can perfectly attract a viewer’s attention to a certain specific plot point.

    When reading the chapter on focal length, my mind immediately jumped to The Killing of a Sacred Deer (2017, Lanthimos). The incredibly unnatural and off-putting vibe of the film is mirrored by Lanthimos’ use of wide angle, short focal length cinematography, creating a strong feeling of isolation and distortion. The technique is used throughout, and it makes the characters seem like they are almost unable to create connections with one another as they, themselves are unimportant.

  • Creative instrument _ Cinematography

    This week’s reading on Chapter 5, “The Shot: Cinematography”, which is actually an exciting part for me since creative and effective cinematography can always shock me a lot and make me marvel at the powerful role of cinematography in shaping a film’s narrative and emotional expression.  The reading emphasizes how the camera is not just a recording device but a creative instrument that shapes meaning.

    I believe that this chapter mainly focuses on four elements of cinematography:

    ·  Photographic qualities: such as tonality, contrast, and exposure.

    ·  Depth of field and focus: which guide the audience’s attention through selective focus, deep focus, or rack focus.

    ·  Framing: such as camera distance, angle, and aspect ratio, which determine how space is perceived.

    ·  Camera movement: from pans and tilts to tracking shots and long takes, which create rhythm and continuity.

    Then, I’ d love to share some cinematography that I appreciate a lot, and I hope these examples can better explain the power of cinematography.
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    For example, in Life of Pi, the shots of the glowing ocean at night left a deep impression on me. (I watched this film when I was in elementary school, but it is still the top 3 movies in my hurt, and will always recommend to my friends watch it!) The strong contrast between the bright bioluminescence and the dark sky creates this dreamlike, almost spiritual mood. The framing often puts Pi small against the endless sea, making his struggle feel even more overwhelming.

    In The Shawshank Redemption, I always think of the moment when Andy escapes and raises his arms to the sky in the rain. The low camera angle looking up, combined with the crane movement that slowly lifts, makes us share his feeling of freedom. It’s simple, but so powerful.

    In The Wolf of Wall Street, the cinematography almost becomes part of the chaos itself. The restless tracking shots and sudden zooms mirror Belfort’s manic lifestyle, while the rapid cuts in the office scenes—where dozens of brokers shout into phones at once – intensify the sense of frenzy. Together, these choices capture not only the dizzying speed of the financial world but also its obsessive, almost pathological hunger for money.

    All of these examples made me realize just how much cinematography directs our attention and emotions. It doesn’t just record the story—it tells the story. And honestly, it makes me marvel at the powerful role cinematography plays in shaping both plot and emotion.