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Sight, Sound, Motion : Applied Media Aesthetics

by: ZETTL

Sight, Sound, Motion : Applied Media Aesthetics

by: ZETTL

ISBN 13:
9780534526771
ISBN 10:
0534526772
Edition: 3rd
Format: Paperback
Copyright: 07/13/1998
Publisher: Wadsworth Publishing
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Summary

This book describes the major aesthetic image elementsùlight and color, space, time-motion, and soundùand how they are used in television and film. Zettl's comprehensive coverage of aesthetic theory and his inclusion of effective visuals and examples place this text in a class by itself.

Prologue

(1)

1 Applied Media Aesthetics

(14)

Applied Media Aesthetics: Definition

(1)

Applied Aesthetics and Contextualism

(1)

Art and Experience

(1)

Incidents of Life

(1)

Contextualistic Aesthetics

(1)

Context and Perception

(5)

Stabilizing the Environment

(1)

Selective Seeing

(1)

The Power of Context

(3)

The Medium as Structural Agent

(1)

Applied Media Aesthetics: Method

(2)

Fundamental Image Elements

(1)

Content

(1)

Responsibility

(1)

Summary

(3)

Notes

(2)

2 The First Aesthetic Field: Light

(16)

The Nature of Light

(1)

Lighting Purposes and Functions

(1)

The Nature of Shadows

(5)

Attached and Cast Shadows

(2)

Falloff

(2)

Outer Orientation Functions: How We See an Event

(4)

Spatial Orientation

(1)

Tactile Orientation

(2)

Time Orientation

(2)

Inner Orientation Functions: How We Feel About an Event

(2)

Establishing Mood and Atmosphere

(1)

Above- and Below-Eye-Level Key-Light Position

(1)

Predictive Lighting

(1)

Light and Lighting Instruments as Dramatic Agents

(1)

Summary

(2)

Notes

(1)

3 Structuring the First Aesthetic Field: Lighting

(14)

Standard Lighting Techniques

(2)

Chiaroscuro Lighting

(3)

Analysis of Chiaroscuro Lighting

(1)

Functions of Chiaroscuro Lighting

(2)

Specific Chiaroscuro Lighting Types

(1)

Rembrandt Lighting

(1)

Cameo Lighting

(1)

Flat Lighting

(2)

Functions of Flat Lighting

(1)

Silhouette Lighting

(1)

Media-Enhanced and Media-Generated Lighting

(2)

Single-and Multiple-Camera Lighting

(1)

Single-Camera Lighting

(1)

Multiple-Camera Lighting

(1)

Summary

(2)

Notes

(1)

4 The Extended First Field: Color

(16)

What Is Color?

(1)

How We Perceive Color

(2)

Basic Physiological Factors

(1)

Basic Physiological Factors

(1)

Compatible Color

(1)

How We Mix Color

(3)

Additive Color Mixing

(1)

Subtractive Color Mixing

(1)

Mixed Mixing

(1)

Relativity of Color

(4)

Light Environment

(1)

Surface Reflectance

(1)

Color Temperature

(1)

Surrounding Colors

(1)

Color Juxtaposition

(1)

Color Constancy

(1)

Colors and Feelings

(1)

Warm and Cold Colors

(1)

Color Energy

(1)

Summary

(3)

Notes

(2)

5 Structuring Color: Function and Composition

(10)

Informational Function of Color

(2)

Color Symbolism

(1)

Compositional Function of Color

(1)

Color Energy

(1)

Expressive Function of Color

(2)

Expressing Essential Quality of an Event

(1)

Adding Excitement and Drama

(1)

Establishing Mood

(1)

Desaturation Theory

(2)

Colorizing Film

(1)

Television Commercials

(1)

Summary

(2)

Notes

(1)

6 The Two-Dimensional Field: Area

(16)

Aspect Ratio

(7)

Aspect Ratio and Framing

(3)

Changing the Aspect Ratio

(3)

Object Size

(2)

Knowledge of Object

(1)

Relation to Screen Area

(1)

Environmental Context

(1)

Reference to a Person

(1)

Image Size

(1)

Image Size and Relative Energy

(1)

People and Things

(1)

Deductive and Inductive Visual Approaches

(3)

Deductive Approach

(1)

Inductive Approach

(2)

Summary

(2)

Notes

(1)

7 The Two-Dimensional Field: Forces Within the Screen

(26)

Main Directions: Horizontal and Vertical

(3)

Horizontal/Vertical Combination

(1)

Tilting the Horizontal Plane

(2)

Magnetism of the Frame

(5)

Headroom

(1)

Pull of Top Edge

(1)

Pull of Side Edges

(2)

Pull of Entire Frame

(1)

Attraction of Mass

(1)

Asymmetry of the Frame

(2)

Up/Down Diagonals

(1)

Screen-Left and Screen-Right Asymmetry

(1)

Figure and Ground

(2)

Figure-Ground Characteristics

100

(1)

Psychological Closure

101

(5)

Gestalt

102

(1)

High- and Low-Definition Images

103

(1)

Facilitating Closure

104

(2)

Vectors

106

(5)

Vector Field

106

(1)

Vector Types

106

(2)

Vector Magnitude

108

(1)

Vector Directions

109

(2)

Summary

111

(3)

Notes

112

(2)

8 Structuring the Two-Dimensional Field: Interplay of Screen Forces

114

(26)

Stabilizing the Field Through Distribution of Graphic Mass and Magnetic Force

116

(3)

Screen-Center

117

(1)

Off-Center

117

(1)

Counterweighting

118

(1)

Stabilizing the Field Through Distribution of Vectors

119

(3)

Structural Force of Index Vectors

119

(1)

Leadroom

120

(1)

Converging Vectors

121

(1)

Graphic Vectors

121

(1)

Stages of Balance

122

(4)

Stabile Balance

122

(1)

Neutral Balance

122

(3)

Labile Balance

125

(1)

Object Framing

126

(4)

Facilitating Closure

126

(1)

Graphic Cues

127

(1)

Premature Closure

127

(1)

Natural Dividing Lines

128

(2)

Illogical Closure

130

(1)

Extending the Field with Multiple Screens

130

(6)

Continuing Graphic Vectors

132

(1)

Off-Screen Space Limits

132

(1)

Index Vector Combinations

133

(2)

Z-axis Vectors in Three-Screen Space

135

(1)

Dividing the Screen: Screens Within the Screen

136

(1)

Summary

137

(3)

Notes

139

(1)

9 The Three-Dimensional Field: Depth and Volume

140

(24)

The Z-axis

141

(2)

Graphic Depth Factors

143

(14)

Overlapping Planes

144

(1)

Relative Size

145

(1)

Height in Plane

146

(1)

Linear Perspective

147

(3)

Aerial Perspective

150

(1)

Depth Characteristics of Lenses

150

(1)

Overlapping Planes: Wide-Angle Lens

151

(1)

Overlapping Planes: Narrow-Angle Lens

151

(1)

Relative Size: Wide-Angle Lens

152

(1)

Relative Size: Narrow-Angle Lens

152

(1)

Linear Perspective: Wide-Angle Lens

153

(1)

Linear Perspective: Narrow-Angle Lens

153

(1)

Achieving Aerial Perspective

154

(3)

Major Graphication Devices

157

(4)

Lines and Lettering

157

(1)

First-and Second-Order Space

158

(2)

Topological and Structural Changes

160

(1)

Summary

161

(3)

Notes

162

(2)

10 Structuring the Three-Dimensional Field: Building Screen Volume

164

(18)

Volume Duality

165

(6)

Dominant Positive Volume

167

(2)

Preponderant Negative Volume

169

(1)

Applications of Volume Duality

170

(1)

Z-axis Articulation

171

(5)

Narrow-Angle Lens Distortion

172

(2)

Wide-Angle Lens Distortion

174

(2)

Z-axis Blocking

176

(2)

Spatial Paradoxes

178

(3)

Superimposition

178

(1)

Figure-Ground Paradox

179

(1)

Relative Size Paradox

180

(1)

Summary

181

(1)

Notes

181

(1)

11 Building Screen Space: Visualization

182

(24)

Storyboard

184

(1)

Ways of Looking

184

(4)

Looking At an Event

186

(1)

Looking Into an Event

186

(1)

Creating an Event

186

(2)

Field of View

188

(2)

Point of View

190

(1)

POV: Looking Up and Looking Down

190

(2)

POV: Subjective Camera

192

(3)

Assuming the Character's Point of View

192

(2)

Being Discovered

194

(1)

Direct-Address Method

194

(1)

POV: Over-the- Shoulder and Cross Shooting

195

(3)

Over-the-Shoulder Shooting

196

(1)

Cross Shooting

196

(2)

POV: Multiple Z-axis Blocking

198

(1)

Angles

198

(6)

Angles for Vector Continuity

199

(1)

Angles for Multiple Viewpoints

199

(1)

Angles for Point-of-View Clarification

200

(1)

Angles for Event Intensification

200

(3)

Angles for Setting Style

203

(1)

Summary

204

(2)

Notes

205

(1)

12 The Four-Dimensional Field: Time

206

(18)

The Importance of Time

207

(3)

What Is Time?

210

(1)

Types of Time

211

(4)

Objective Time

211

(1)

Subjective Time

212

(3)

Biological Time

215

(1)

Time Direction

215

(2)

Past/Present/Future

216

(1)

Saint Augustine and the Present

216

(1)

The Present as Subjective Time

216

(1)

Transcending Time

217

(1)

Time Vectors in Live Television

217

(2)

Live Television and Objective Time Vectors

218

(1)

Live Television and Subjective Time Vectors

218

(1)

Time Vectors in Recorded Television and Film

219

(2)

Live-on-Tape

220

(1)

Instant Replays

221

(1)

Time Vectors in Edited Videotape and Film

221

(1)

Summary

222

(2)

Notes

222

(2)

13 The Four-Dimensional Field: Motion

224

(20)

Motion and Media Structure

225

(8)

Zeno and Film

225

(2)

Basic Structural Unit of Film

227

(1)

"At-At" Motion of Film

228

(1)

Bergson's Motion

228

(2)

Basic Structural Unit of Television

230

(1)

The Process Image of Television

230

(1)

Digital Video

231

(1)

Process Image of LCD and Plasma Displays

232

(1)

Film on Television

232

(1)

High-Definition Television

233

(1)

Motion Paradox

233

(3)

Frames of Reference

234

(1)

Figure-Ground Reversal

235

(1)

Z-axis Motion

236

(2)

Perceived Object Speed: Wide-Angle Lens

236

(1)

Perceived Object Speed: Narrow-Angle Lens

237

(1)

Perceived Camera Speed: Wide- and Narrow-Angle Lenses

238

(1)

Slow Motion

238

(2)

Filmic Slow Motion: Frame Density

238

(1)

Slow Motion in Television: Playback Speed

238

(1)

Absence of Gravity

239

(1)

Aesthetic Effects of Slow Motion

239

(1)

Accelerated Motion

240

(1)

Filmic Accelerated Motion: Frame Density

240

(1)

Accelerated Motion in Television: Playback Speed

240

(1)

Summary

241

(3)

Notes

242

(2)

14 Structuring the Four-Dimensional Field: Timing and Principal Motions

244

(20)

Types of Objective Time: Timing

245

(4)

Clock Time

246

(1)

Running Time

246

(1)

Sequence Time

247

(1)

Scene Time

247

(1)

Shot Time

247

(1)

Story Time

248

(1)

Types of Subjective Time: Pace and Rhythm

249

(1)

Pace

249

(1)

Rhythm

249

(1)

Principal Motions and Their Functions

250

(12)

Primary Motion and Functions

250

(2)

Secondary Motion and Functions

252

(3)

Tertiary Motion

255

(7)

Summary

262

(2)

Notes

263

(1)

15 Structuring the Four-Dimensional Field: Continuity Editing

264

(26)

Graphic Vector Continuity

266

(1)

Index Vector Continuity

267

(5)

Continuing, Converging, and Diverging Index Vectors

267

(2)

Index Vector-Target Object Continuity

269

(2)

Successive Z-axis Index Vectors

271

(1)

The Index Vector Line

272

(7)

Camera Placement for Cross Shooting

274

(1)

Camera Placement for Over-the-Shoulder Shooting

275

(1)

Z-axis Position Change

276

(1)

Establishing the Index Vector Line

277

(2)

Motion Vector Continuity

279

(4)

Continuing, Converging, and Diverging Motion Vectors

279

(3)

Z-axis Motion Vectors and Continuity

282

(1)

The Motion Vector Line

283

(3)

Establishing the Motion Vector Line

283

(2)

Motion and Index Vector Lines

285

(1)

Special Continuity Factors

286

(3)

Action Continuity

287

(1)

Subject Continuity

288

(1)

Color Continuity

288

(1)

Continuity of Environment

288

(1)

Summary

289

(1)

Notes

289

(1)

16 Structuring the Four-Dimensional Field: Complexity Editing

290

(16)

Metric Montage

292

(1)

Analytical Montage

293

(5)

Sequential Analytical Montage

293

(3)

Sectional Analytical Montage

296

(2)

Idea-Associative Montage

298

(6)

Comparison Montage

299

(1)

Collision Montage

300

(4)

Summary

304

(2)

Notes

305

(1)

17 The Five-Dimensional Field: Sound

306

(20)

Sound and Noise

307

(4)

Television and Film Sound

308

(1)

Television Sound

308

(2)

Film Sound

310

(1)

Literal and Nonliteral Sounds

311

(3)

Literal Sound

311

(1)

Nonliteral Sound

311

(1)

Literal and Nonliteral Sound Combinations

312

(1)

The Importance of Context

312

(2)

Functions of Sound

314

(1)

Information Function of Sound

314

(3)

Dialogue

314

(1)

Direct Address

314

(2)

Narration

316

(1)

Outer Orientation Functions of Sound

317

(3)

Space

317

(1)

Time

318

(1)

Situation

319

(1)

External Condition

319

(1)

Inner Orientation Functions of Sound

320

(2)

Mood

320

(1)

Internal Condition

320

(1)

Energy

320

(1)

Structure

321

(1)

Aesthetic Factors

322

(1)

Figure-Ground

322

(1)

Sound Perspective

322

(1)

Sound Continuity

323

(1)

Summary

323

(3)

Notes

325

(1)

18 Structuring the Five-Dimensional Field: Sound Structures and Sound/Picture Combinations

326

(33)

Elements of Sound

327

(5)

Pitch

327

(1)

Timbre

328

(1)

Duration

329

(1)

Loudness (Dynamics)

329

(1)

Attack/Decay

330

(2)

Basic Sound Structures

332

(12)

Melody

333

(2)

Harmony

335

(1)

Homophony

335

(2)

Polyphony

337

(7)

Sound Structures and Dramaturgy

344

(1)

Sound Elements and Dramaturgical Parallels

344

(1)

Sound Structures and Dramaturgical Parallels

344

(1)

Picture/Sound Combinations

345

(6)

Homophonic Structures

346

(1)

Polyphonic Structures

346

(3)

Montage

349

(2)

Picture/Sound Matching Criteria

351

(5)

Historical-Geographical

351

(1)

Thematic

352

(1)

Tonal

352

(1)

Structural

352

(4)

Summary

356

(3)

Notes

357

(2)

Epilogue

359

(2)

Glossary

361

(16)

Bibliography

377

(12)

Photo Credits

389

(2)

Index

391

Amazon no longer offers textbook rentals. We do!

Sight, Sound, Motion : Applied Media Aesthetics

Sight, Sound, Motion : Applied Media Aesthetics

9780534526771

0534526772

Summary

Table of Contents

Supplemental Materials

Write a Review

Amazon no longer offers textbook rentals. We do!

Sight, Sound, Motion : Applied Media Aesthetics

Sight, Sound, Motion : Applied Media Aesthetics

9780534526771

0534526772

Summary

Table of Contents

Supplemental Materials

Write a Review

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