Cinematography Elefante

Camera Movement; Camera Shot; Camera Angles and Lighting

Cinematography - Elefante

http://www.youtube.com/watch?v=IaZO-dWOMnY

The film we are going to look at is called ‘Elefante’ which we sourced online from Youtube. In total, the film is

just under 10 minutes long, meaning it is a short film not a microfilm. The film is very interesting and is narrated

from the point of view of a man who turned into a elephant (which has similar connotations to a man suffering

from depression) and we see how his life was before and after.

Cinematography - Elefante

This short film explores the use of pans and tracking shots as a way of insinuating progression within the

narrative. It also works as a way of emphasizing the main aspects of the narrative, especially the build up to the

climax and the climax itself. Some examples are shown below using stills of the film:

bathroom scene - upwards pan - from boring tap and sink to exciting and interesting elephant progression, slowly

reveals the climax in the narrative and disturbance within daily routine.

Camera Movement

The first office scene begins with a slow pan (to show progression from the

introduction of the film), then progresses to a reverse tracking shot (to show

surroundings and settings) and then an instant camera zoom on the main

character (emphasizes the the importance of the character and shows some of the

characters important characteristics)

The use of camera movement through pans and tracking shots works alongside Roland Barthes 5 code

narrative theory; ‘The symbolic code (the voice of symbols) - the symbolic code widens the semantic code by

adding deeper and broader sets to the additional meaning...’. The pans and tracking shots anchor to the idea

of disturbance and wider meanings to what is shown on screen, a panning shot adds suspense and usually

leads to a disturbance whereas a tracking shot, as shown in an example below, shows a wider meaning by

allowing peoples reaction to the elephant to be seen, showing elements of prejudice.

following tracking shot through the shop, camera moves to show others reactions to the main characters

appearance, and shows the character in his full costume by tracking him from the front rather than from

behind

This form of camera movement has a very interesting effect on the audience, it makes them sympathize with

the main character because it allows them to see from the main characters perspective as well as focusing

on their every move.

The handheld camera technique is used to symbolise disturbance, coinciding with Tzvetan Todorov’s narrative

theory where elements within the narrative force there to be a confrontation. The shaking camera movement

works alongside the codes and conventions of a typical action scene where they symbolise a disturbance and

portray the characters inner emotions on screen:

Handheld camera when the main character and sergio are having a fight in the park - symbolises disturbance,

emergency, elements of action -- instantly turns into an reverse tracking shot to show police

Camera movements can link to macro elements of short film, such as narrative - as well as have an effect on the

audience. In this scene the audience can see and feel the disturbance between the characters by having a shaky

visual representation of the climax as well as a background understand through narrative and plot. This also adds

authenticity to the film and makes the audience believe that they are in the same situation as the characters

A low-crane camera movement is used at the end of the film to connote to the audience that the equilibrium

returns in its own unique way. Although the film does not return to order, like narrative theories suggest, the

crane movement shows that this is the final resolution for the character by acting as an evaluation of the current

situation.

slow low crane shot to show an evaluation of the story

The difference between this shot and a long shot is the height of the shot and how it seems to be above ground

level. This affects the audience by showing that the situation was never fully resolved but there was some form

of equilibrium towards the end. The camera movement displays this by focusing on neither of the characters in

the scene but emphasizing the surroundings of which the narrative ends.

It also gives the audience the opportunity to find comfort in the new equilibrium set by presenting the close

relationship between the son and his father (the elephant) on screen.

Cinematography - Elefante

A micro element I am going to discuss will be camera angles. In this movie a variety of camera angles have

been used in order for the audience to be able to relate to the point of view of the protagonist better. An

example of this is shown 23 seconds into the movie. This shot is an eye level

shot, which is often known as a reaction shot. If you look at the example on the

right, the view of the camera is as if you're one of his colleagues and you are

turning around to ask him a question. I believe that the reason this shot was used

was as a way to clearly identify to the audience that he is a ‘regular man’ in a

‘regular’ office job. He doesn’t appear neither ‘dorky’ or ‘up market’ he just seems

like an everyday man you would pass on the street. This perception of the mans

character is useful to the rest of the film as we see him experience something

which is unnatural and irregular.

The shot is rather objective. It allows the audience to assume what his expression on his face is supposed to

mean. In this instance, combined with the previous shots that showed the entire dull office, I felt like this was

to imply that he’s fed up with his job and that he has been there for a long time. If this was the case then this

shot links in with the next scene where he talks about his monotone life, where each day includes lesser

involvement from his family. He appears quite sad as well and stressed. In less than a minute of the movie,

just from the type of shots used, the audience are able to learn a lot about the protagonist. This links to the

Syd Field narrative structure as the narrative is set up by establishing the action and showing who the key

people involved are. It is suggested from the shot above that the rest of the movie will entail something

negative as he doesn't have a positive expression on his face.

Camera Angle

Cinematography - Elefante

Another camera angle used that I felt also added to the value of allowing the audience to understand the

feelings and emotions of the protagonist is the high angle shot. At 1 minute 56 seconds this shot was used in

the movie, in order for the audience to understand the stress and confusion that the protagonists felt after

finding out that he is due to become an elephant. The fact that there is a shadow on half of his face also tells

us about how he is feeling. He’s in his bed with his wife and instead of snuggling up next to her and showing

a bit of intimacy, he is away from her and staring out the ceiling. The fact hes looking up there suggests to

the audience that he’s thinking about his news that he just got: he’s not conveying a direct mode of address.

Possibly he was also thinking about the fact that him and his wife cannot cooperate effectively. I think its

interesting how his shadow makes it look like he is facing his wife when really he is not. I think the shadow

was also created to signify him and his wifes broken down relationship. I would assume that most married

people are able to come home and speak to their partner about any bad given news, whereas he has to

refrain from doing this because his wife has been acting ‘distant’. His facial expression is almost identical to

the one on the previous page. I assume from this shot that he feels very

apprehensive and nervous and that the words of the doctors have become a

tune inside his head. A range of camera angles have been used throughout

the movie in order to create a better understanding of the narrative or the

audience.

Camera Angle

Cinematography - Elefante

Shot Type

Different shots are used within this short film to emphasize parts of the narrative. For example- Over the

shoulder shot:

An over the shoulder shot is used within this scene to

symbolise the relationship between the two characters in the

film. From the narrative the audience get the impression that

the relationship between the main character (who is the father)

and the young girl (who is the daughter) is very distant. I think

this is why the over the shoulder shot was used in the dinner

table scene, in order to show the distance between them. Also

the fact that they have used shallow depth of field to only leave

the girl in focus, not only adds to the aesthetics and

cinematics, but too adds to the idea of them being separate.

In my opinion the blur represents their relationship. It’s almost as if he is just a faint blur in his daughter's

memory. Even from her body language you can see she has no intention on speaking to her dad, let alone

acknowledging his presence. This is why I think the depth of field technique has been used because although

the father is in the shot, in the same way that he’s in the house on his dinner table, hes not the main focus

nor is he in focus, this links to the way that you get the impression his daughter doesn’t want to focus on him

at all. (continued)

Cinematography - Elefante

It could be argued that the use of depth of field links to the

film, as later in the film we see him disappear from his

human figure and transform into an elephant. The blur could

relate from this as it’s like he was originally in focus and now

he is not and he was originally a human but later he won't

be. In elefante depth of field was used in the over the

shoulder shot in order to direct the audience's focus.

The over the shoulder shot could also symbolise what the

main character sees- allowing the audience to see from the

main characters perspective. This makes the audience more

intrigued because it provides a visual representation of the

subtitles used within the film.

The use of subtitles within the film presents the audience with more understanding (because it is in a different

language) but also explains the different shots used by having important dialogue subtitled with the shots e.g.

in the over the shoulder shot, the subtitles coincide with the idea of there being a distant relationship by stating

‘my daughter is a stranger who doesn’t talk to me.’

Shot Type

Cinematography - Elefante

As said before, we believe that the choices of shots were used as a way to emphasize the narrative. This

example which is taken from the same scene as the previous one, I believe also does that. This is an

example of a medium shot taken from 0.43 seconds of the film. In this scene there is a voice over of the

fathers voice and he is talking to the audience about his broken down family. I love how this shot contrasted

with the previous one. Before it looked as if it was only the father and daughter sitting around the dinner

table, but now this medium shot has been used to show that his relationship is not only difficult with his

daughter but it’s the rest of his family too. I think it is ironic how the subtitles say ‘I’d like to get them back’

and in the shot although we are aware he is sitting at that table however he isn’t shown. The shot makes him

look so far away from his wife that it makes you automatically assume there’s no way he’s getting them back,

which also links to later in the film when there is a change in the events.

Although he is eating around the table ‘like a family’ their family was

broken down a long time ago. Ways that this shot implies this is because

the medium shot makes them all seem to be so far apart from each other,

which links to the idea of him feeling/being distance from them. But also

because the subtitles don’t say ‘I’m loosing them’ which would suggest

it is only for a number of days that his families lives have been like this. This

shot allows the audience to see how the characters interact with each other

and is often referred to as a social shot.

Shot Type

Cinematography - Elefante

I think there are a number of themes in the film however the main one that I picked up on was family and the

consequences of poor communication. Nearly all the shots are from the fathers perspective which makes the

audience feel sorry for him as we practically watch his life fall apart. There are lots of shots where we see the

father trying to talk to his family but they don’t put in the same efforts back. This is an example of another

over the shoulder shot. I think it was used for the same reasons which was to emphasize his broken down

relationships.

Shot Type

In this scene he’s talking to his wife about him

feeling unwell and she shows no remorse and can

only just about bare to look at him. She appears in

the film as a heartless character. Depth of field has

been used again to separate the two characters

and highlight their relationship. Although at this

point in the film he is trying to conversate with her,

it is perfectly obvious that she doesn’t want to

speak to him: he is practically talking to himself.

Cinematography - Elefante

The use of shadowing within cinematography is

important for connoting emotion on screen as well as

coinciding with the narrative. In this case, the still

shown shows the emotion of the character through

having half of his face shadowed- this could act as an

anchor to the possibility of something bad happening

later in the plot or it could show the atmosphere

surrounding the character. This is particularly effective

when all the other characters within the scene are fully

lit:

Lighting

Lighting can be a part of cinematography and Mise-en-scene, but the shots discussed on this presentation

will focus on the cinematographic effect lighting has on a short film. A cinematographer will not only use light

as a way to show what’s on screen, they will shape light to show aspects of the scene that will anchor or

symbolise something or lead to a wider story -

Shadow:

Low light & Shadow:

This scene is meant to be shot at night and is meant to portray a

natural moonlight effect, but again with the help of the shadowing

technique, the idea of night is amplified within the shot, not only

giving an idea of night but also connotes sadness by completely

shadowing half of his face. It’s like the shadows represent the

idea of him losing his identity which links to the film as he

transforms into an elephant. In the previous shadowing example,

there was a bit less harshness on the shadowing of the

characters face, this time, half of his face is completely black-

which anchors the idea of something negative about to happen or

a progression of the characters negative emotions.

This effect affects the audience by giving a visual representation

of the narrative and the characters emotions. Light and Dark

When the scene changes from darkness to light it

usually means that something in the scene is about to

be revealed and could be an important aspect of the

narrative. In this case, the first stages of the man being

changed to an elephant is revealed. The use of dark to

light works hand in hand with the pan camera

movement because it creates suspense about what is

going to be revealed.

Conclusion

In the short film Elefante cinematography elements were used for

cinematic purposes and to create an effect on the narrative and

the audience. This was done by using particular camera

movements, such as tracking shots to set the scene and so the

audience could quickly be able to understand the character and

traits of the protagonist. Followed by lots of creative shot types

and angles that linking with the subtitles almost force the

audience to feel sorry for him. I strongly believe this was one of

the main purposes of the film as never as an audience do we ever

become able to understand the enigma codes of the movie.

These I believe are, ‘how and why did their family become so

damaged’, ‘why does his wife hate him so much’ and ‘what was

the cause of his transformation into an elephant?’ Although the

films point of view is somewhat bias, I think without this

perspective the overall quality of the film wouldn’t be as strong.

Cinematography Elefante

Tiann Rowland-Dixon and Roshan Roberts