BMC-GEC-003

Film Studies
Course Instructor: Millo Kado

Unit -1: Language of Cinema

Introduction
Cinema is an art form that has evolved over the course of many generations. What started as
an innocuous1 experiment and circus attraction, has today ended up being a global
juggernaut2 in terms of entertainment and being a cultural signifier3 in modern times.
The purpose of this course will be to introduce one to various aspects of cinema. It will teach
how to read and understand different elements of cinema and will also introduce important
film movements across the world. This course will also develop one’s skills to critically
analyse cinema via film theories and will assess Indian cinema and the impact of
globalisation on Indian Cinema.

Language of Cinema
Over the course of the evolution of cinema, there has evolved certain signifiers of cinema that
give it meaning and weight. These signifiers have become the so-called language of Cinema.
One must remember that despite all the bells and whistles that come along with it, cinema
still essentially a means of communication.
Meaning, that even though cinema today means a mode of entertainment for the general
public, intrinsically4 it still remains a way for the filmmaker to communicate with the masses.
Through cinema the filmmaker not only shares an engaging story for the audience, but also
presents his worldview5. Instead of directly narrating the story and explaining the story
through his words, the filmmaker opts to use the signifiers i.e., cinema language to convey
meaning. The elements that constitute cinema language, become the building blocks that help
us understand cinema. Just like how one needs to learn the alphabet and basic grammar to
understand a language totally, so does one have to understand cinema language to be able to
fully comprehend6 and appreciate the intricacies7 of cinema.
Following are the elements of cinema language:
 Shots
 Sequences
 Scene
 Misc-en-scene
 Montage
 Continuity
 Editing
 Sound & Colour
1
not harmful or offensive
2
a huge, powerful, and overwhelming force
3
a symbol, sound, or image (such as a word) that represents an underlying concept or meaning
4
in an essential or natural way
5
in an essential or natural way
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grasp mentally; understand
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details, especially of an involved or perplexing subject
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Film Studies
Course Instructor: Millo Kado

1. Shots
The word “movie”, is a shortened form of moving picture. The early innovators/pioneers of
cinema, discovered that if one plays a series of pictures rapidly at a certain pace, it gives the
viewer an illusion of motion. Each picture that is played, is known as a frame. When frames
are played at a speed of 24 frames per second (fps), then it presents the viewer with an
illusion of motion.
Thus, a frame is one of the many still images that makes up a moving picture/movie.
This leads us into one of the most basic and important building blocks or elements of cinema
language, which is the shot.
A shot is a series of frames that runs for an uninterrupted span of time.
By choosing to showcase an object or a person in a particular type of shot, the director or
filmmaker imbibes a particular meaning, or wants to convey a particular message about the
concerned object or person/character. Despite being one of the most basic cinema language
elements, shots are the most meaningful elements. One must always remember that a good
filmmaker imbibes meaning into every shot of a film. Thus, whatever shown on screen has a
specific meaning attached to it.
The types of shots are classified into 3 major ways:
 Shot Size
 Subject Composition
 Camera Angles

Shot Size
In every shot, the filmmaker aims to highlight a specific person, object or structure. This
particular highlight of each shot is known as a subject. This subject can be placed or
highlighted at various distances from the camera. If a subject is placed closer to the camera,
its known to be in the foreground. If it is at a considerable distance from the camera its said to
be in the midground, while if it is far from the camera its known to be in the background.
The first type of classification of shots is based on the shot size. Shot size is described as how
much of the screen/frame is a particular subject occupying. It also derives meaning from how
far away or close to the camera the subject is. According to the varying sizes of the shot,
specific meanings are attached to it by the director/filmmaker.
Extreme Long Shot/ Wide shot
In an extreme long shot, the subject is placed in a frame, but it’s engulfed by the surroundings
that its placed in. This shot aims to denote8 that the subject is placed in an overwhelming
situation, one that the character/subject would have to really persevere to get out of. The
character comes face to face with the vast, insurmountable challenge he/she faces. This could
be in the form of a challenging and unforgiving terrain or a life-threatening situation.

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be a sign of; indicate
 BMC-GEC-003
Film Studies
Course Instructor: Millo Kado

Figure 1: Captain America against Thanos's Army, Avengers Endgame,2019

The above image is a perfect example of the extreme long shot. The subject here is the
character, Captain America who is placed in the midst of the battle against the villain Thanos.
It shows the overwhelming situation in which he is placed in, as he has to fight a massive
army of alien fighters all alone. It also shows strength and depth of the character’s nature, as
he still stands resolutely even in a losing situation. The scale of the destruction already
caused and the sheer size of the opposing army that he has to face is also shown.
Thus, if framed and curated well, extreme long shots not only will present the
challenging situation that a character is placed but also highlights the nature of the
character.
Wide Shot/ Establishing shot
A wide shot is a smaller version of the extreme wide. It showcases the subject at a reasonable
distance from the camera. It is also known as an establishing shot because it is used to show
information about a new location or setting that the character or story is placed in. it not only
establishes the location where the next part of the story takes place, gives off the mood that
the character is going through.

Figure 2: Long Shot from Blade Runner 2049, 2017

 BMC-GEC-003
Film Studies
Course Instructor: Millo Kado

The above image showcases the protagonist9 of the movie ‘Blade Runner 2049’, played by
the actor Ryan Gosling. Since the film is set in a dystopian10 setting, where the world as we
know it doesn’t exist anymore. Instead, it’s a bleak world devoid of any of the signifiers of
happiness and prosperity that we know in our world. Not only does this shot successfully
introduce us to the world of ‘Blade Runner 2049’, but it also showcases the immense
loneliness and solitude11 of the character.
Medium Shot/Mid Shot
The medium shot is the most basic and neutral shot in cinema. It is the most used in film
making and as such does not denote any specialised meaning. It is used in almost any type of
scenario. If a subject or character is showcased in a medium shot or mid shot, then he/she is
shown from knee level to just slightly above the head. It is also known as the ¾ shot.

Figure 3: Medium shot/Mid Shot of Clint Eastwood

The medium shot is sometimes also known

as the cowboy shot. This was due to
prevalence of the use of this kind of shot to
introduce a character in movies of the
‘Cowboy’ genre. The shot showcases not
only the character from above knee level, but
also shows the surroundings in the
background of the frame.
Close-up shot
A close-up shot is one which primarily serves to focus on the subject and the emotions that
he/she is undergoing at that moment in time. The subject covers most and almost the entire
frame. This shot is used to heighten the intensity of a scene. For example, it is used to shift
tones when a significant conversation takes place between 2 characters. The close up usually
showcases the subject from chest level to just above the head.

9
the leading character or one of the major characters in a play, film, novel, etc
10
relating to or denoting an imagined state or society where there is great suffering or injustice
11
a state of seclusion or isolation, meaning lack of socialisation
 BMC-GEC-003
Film Studies
Course Instructor: Millo Kado

Figure 4: Thanos snapping the Infinity Gauntlet, Avengers Endgame, 2019

The above close up of the antagonist12, shows a pivotal moment in the film “Avengers:
Endgame”. The antagonist Thanos, is about to use the all-powerful ‘Infinity Gauntlet’, to
wipe out all of humanity and foil the plans and efforts of the heroes. This shot perfectly
shows the important elements of this moment. It shows the antagonist, who is about to cause
some irreparable damage and the act of doing the damage i.e., snapping his fingers while
using the infinity gauntlet.
Choker Shot
The choker shot is a more intense version of the close up. It showcases the subject/ character
and his/her expression. The subject is shown filling the frame/screen from just above the
eyebrow to the chin. The intention is to emphasise on the expressions brought by the
character/actor and show its importance.

Figure 5: Jack Nicholson from the "The Shining".

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a person who actively opposes or is hostile to someone or something; an adversary
 BMC-GEC-003
Film Studies
Course Instructor: Millo Kado

The above shot of the actor Jack Nicholson is an excellent example of a choker shot. Not only
has it got the framing of the shot right i.e., from above eyebrow to chin; it also brilliantly
shows the skill of the actor’s expression. It shows the insanity and deranged13 mind of the
character at this point in the film. The choker works very well due to the skill of the actor and
thus becomes an iconic14 shot.
Extreme Close-up/ Insert Shot
In this shot, the framing is such that it focuses solely one point i.e., the subject. This subject
can be some object that is pivotal15 to the storyline at this point. It is also known as an insert
shot as, inserts a frame of the subject that is the centre of attention at this point. It can also be
used to heighten the tension of a scene, by using an extreme close up of an actor’s expression.

Figure 6: Uma Thurman(actor), Kill-Bill Vol. 1, 2003

Figure 7: The "One Ring", The Lord of the Rings: Fellowship of the Ring, 2001

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mad; insane
14
widely known and acknowledged especially for distinctive excellence
15
of crucial importance in relation to the development or success of something else
 BMC-GEC-003
Film Studies
Course Instructor: Millo Kado

Both figure 6 and figure 7 are good examples of the insert shot. They are framed similarly,
focusing the audience’s attention on one small subject. However, their uses are different and
the meanings derived from them are different. Figure 6 shows the character played by Uma
Thurman and the intense gaze of her eyes. The character is involved in a fight with numerous
adversaries16. The insert shot here tells us about the sheer focus and concentration her
character displays at this moment.
Figure 7 meanwhile, shows the object of attention at this point in the film, which is the all
powerful “One Ring”. The insert is used here to point the attention of the audience to a
crucial object in the story of the “Lord of the Rings”, the “One Ring”, to rule them all. It
communicates to the audience that this object is vital in the context of the story.

Subject Composition
The next classification of shots is based on subject composition i.e., how many different
subjects are included in a frame of the shot, and how they are shown, in order to ascribe a
particular meaning/significance to a shot.
One Shot/Single
The one shot is when only a single subject is in frame. That single subject is the sole focus of
attention in the frame. At this point, it’s important to note that the classification of shot types
can overlap each other. A particular shot could be a mid shot as well as a one shot.

Figure 8: Saoirse Ronan, The Grand Budapest Hotel, 2014

Figure 9: Kirsten Dunst, Melancholia, 2011

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one's opponent in a contest, conflict, or dispute
 BMC-GEC-003
Film Studies
Course Instructor: Millo Kado

Both figure 8 & 9 are examples of one shots that are also examples of other shots. Figure 8 is
an example of a one shot as there is only one subject in frame, however it could also classify
as a choker shot. Figure 9 could be classified as a one shot and also as a medium shot/mid
shot.
Two Shot
The 2 shot captures 2 subjects in a frame at a time. This can be of varying shot sizes, but
focuses only on 2 subjects at a time. The purpose of this shot is to showcase the relationship
between the 2 subjects. By putting 2 subjects next to each other it tries to signify the close
bond shown by the 2 subjects. It could also mean to show that the 2 subjects are now
accompanying each other in a situation that they need to unite to get out of.

Figure 10: Moonrise Kingdom, 2012

Figure 11: Christoph Waltz & Jamie Foxx, Django Unchained, 2012
 BMC-GEC-003
Film Studies
Course Instructor: Millo Kado

Figure 12: North by Northwest, 1959

Figure 10, 11 and 12 are all fine examples of two shots but with varying shot sizes and
meanings attached to them. Figure 10, shows the 2 subjects in a long shot. The 2 subjects are
placed close by, showing the close nature of the relationship that they share. Figure 11 is a
mid shot of 2 subjects getting ready to shoot down another man. They are placed close by as
they are entangled in a situation where the character played Jamie Foxx has a moral dilemma
just before recording his first kill. Figure 12 shows 2 subjects in yet another 2 shot. However,
in this long 2 shot, the subjects are placed far away from each other with a lot of disturbances
in the distance between them. This signifies the distance that exists in the relationship
between the 2 subjects.
Three Shot
The 3 shot captures 3 subjects in a frame and signifies the relationship shared between the 3.

Figure 13: Mad Max: Fury Road, 2013.

 BMC-GEC-003
Film Studies
Course Instructor: Millo Kado

Figure 14: There Will Be Blood, 2007

Figure 13 and 14 are examples of 3 shots where the importance of a particular character is
shown via how much screen space they take up in the frame. In both pictures, the main
character of that scene takes up more space in the frame.
Point of View (POV) Shots
This kind of shot helps the viewer to inhabit a specific character’s mind. It shows the world
as a particular character sees it.
A POV shot is a camera angle that shoots a scene from the view of a specific character. A
movie director uses it to show us what their characters are witnessing. The next sequential
shot often showcases the character’s reaction to the event, which helps convey the feelings
and emotional state, making it robust. A point of view shot is also known as a subjective
camera or first-person camera.
Therefore, a POV shot helps a filmmaker to:
 Establish a narrative
 Connect the audience emotionally with your character.

Figure 15: Terminator 2: Judgement Day, 1991

Figure 15, from “Terminator 2: Judgement Day”, is an excellent example of a POV shot as it
transports us directly into the perspective of a cyborg that has come from the future. The
frame shows a heads-up display inside the mind of a cyborg as he scans the area for
 BMC-GEC-003
Film Studies
Course Instructor: Millo Kado

resources. This shot immediately showcases what kind of an entity17 is introduced in the
story.
Over the Shoulder (OTS) Shot
The OTS shot is a technique used to show the back-and-forth exchange taking place between
2 characters. It could be classified as a 2 shot with one of the characters turning his/her back
towards the camera. The shot is framed at the level of the back of one character, framing the
other’s face.
Because the characters are placed in the frame at a similar height level, the OTS shot
showcases 2 characters, being on the same page or same emotional understanding of a
particular situation. This is shown beautifully in Figure 16.

Figure 16: Inception, 2010.

However, both characters need not necessarily be on the same height level as each other all
the time, as depicted in the next example.

Figure 17: The Silence of the Lambs, 1991

Figure 17, is an example of OTS shot being used to portray the unequal power dynamics
existing between the 2 characters in frame. The character of Hannibal Lecter is placed at a
higher height than the other character, through which the filmmaker wants to convey that
Hannibal Lecter holds the edge in the power dynamics between the 2 characters.

180-degree rule and Reverse Angle shot

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a thing with distinct and independent existence
 BMC-GEC-003
Film Studies
Course Instructor: Millo Kado

The 180-degree rule is a cinematography guideline that states that two characters in a scene
should maintain the same left/right relationship to one another. When the camera passes over
the invisible axis connecting the two subjects, it is called crossing the line and the shot
becomes what is called a reverse angle.

Figure 18: the 180 degree rule

Figure 18 shows the wrong placement of cameras marked with X that breaks the 180-degree
rule. Breaking this rule confuses the audience as they lose their bearings of the scene and lose
a sense of direction.
A reverse angle shot is a shot taken roughly 180 degrees opposite of the shot prior. Reverse
angle shots are most commonly seen in dialogue scenes and are essential for shot-reverse shot
sequences. Reverse angle shots give audiences different perspectives of the same scene.

Figure 19: stills from "The Master"

In the above figures, the first shot showcases the sleeping actor’s right profile i.e., the right
side of his face. In the immediate next shot, the shot is held from over his right shoulder,
facing the other actor. This is a fine example of the reverse shot.