GEART-REV-PART-1.docx

**LESSON 1** **INTRODUCTION TO ART APPRECIATION** **WHAT IS ART?** 1. Art is something that is perennially around us. 2. The expression or application of human creative skill and imagination, typically in a visual form such as painting or sculpture, producing works to be appreciated pr...

**LESSON 1** **INTRODUCTION TO ART APPRECIATION** **WHAT IS ART?** 1. Art is something that is perennially around us. 2. The expression or application of human creative skill and imagination, typically in a visual form such as painting or sculpture, producing works to be appreciated primarily for their beauty or emotional power. - The word "art" comes from the ancient Latin, ars which means a "craft or specialized form of skill, like carpentry or smithing or surgery" (Collingwood, 1938) - Ars in Medieval Latin came to mean something different. It meant "any special form of book-learning, such as grammar or logic, magic or astrology - The fine arts would come to mean "not delicate or highly skilled arts but 'beautiful' art" (Collingwood, 1938). **CAVE PAINTING** - The Galloping Wild Boar found in the cave of Altamira, Spain is one such example. In 1879,a Spaniard and his daughter were exploring a cave when they saw pictures of a wild boar, hind, and bison. - According to experts, these paintings were purported to belong to Upper Paleolithic Age, several thousands of years before the current era. 1. **ART IS UNIVERSAL**. - Artistic made long time ago. Age is not a factor in determining art. "Art is not good because it is old, but old because it is good" (Dudley et al., 1060). - They are liked and adored because they meet our needs and desires. Florante at Laura never fails to teach high school students the beauty of love, one that is universal and pure. - The first assumption then about the humanities is that art has been crafted by all people regardless of origin, time, place, and that it stayed on because it is liked and enjoyed by people continuously. A great piece of work will never be obsolete. (outdated) - Art will always be present because human beings will always express themselves and delight in these expressions. 2. **ART IS NOT NATURE**. - One important characteristic of art is that it is not nature. Art is man's expression of his reception of nature. Art is man's way of interpreting nature. Art is not nature. Art is made by man, whereas nature is a given around us. It is in this juncture that they can be considered opposites. 3. **ART INVOLVES EXPERIENCE.** - Art does not require a full definition. Art is just experience. By experience, we mean the "actual doing of something" (Dudley et al., 1960). When one says that he has an experience of something, he often means that he knows what that something is about. - A painter cannot claim to know how to paint if he has not tried holding a brush. A sculptor cannot produce a work of art if a chisel is foreign to him. According to Dudley et al., (1960) affirmed that "all art depends on experience, and if one is to know art, he must know it not as fact or information but as experience." - Art is present in every part of the globe and in every period of time. Art not being nature, not even attempting to simply mirror nature, is the second assumption about art. Art is always a creation of the artist, not nature. Finally, without experience, there is no art. The artist has to be foremost, a perceiver who is directly in touch with art. **ART IS A PRODUCT OF MAN'S** - **CREATIVITY** - **IMAGINATION** - **EXPRESSION** - **ROLE IN THE FIELD OF ART APPRECIATION.** - one should also experience and develop his taste for things that are fine and beautiful. - allows to deeply understand the purpose of an artwork and recognize the beauty it possesses. - Learning to appreciate art no matter what vocation or profession you have, will lead to a fuller and more meaningful life. **THE ROLE OF CREATIVITY IN ART MAKING** -Creativity is what sets apart one artwork from another. When can we say that something is creative? - When we have not seen anything like it - When it is out of the ordinary - When it is not just a copy or imitation of someone's work **ART AS A PRODUCT OF IMAGINATION, IMAGINATION AS A PRODUCT OF ART** **ALBERT EINSTEIN** - German physicist - knowledge is derived from imagination ["Imagination is more important than knowledge. For knowledge is limited to all we know and understand, while imagination embraces the entire world, and all there ever will be to know and understand." ] **ROBIN GEORGE COLLINGWOOD** - English philosopher, best known for his work in aesthetic ["What an artist does to an emotion is not to induce it, but express it. Through expression, he can explore his own emotions and at the same time, create something beautiful out of them."] **LESSON 2** **THE SUBJECTS AND METHODS OF PRESENTING THE ARTS** **SUBJECT OF ART** It refers to the main idea that is represented to the artwork. The subject in art is basically the essence of the piece. - Landscapes, Seascapes and **Cityscapes** - Landscapes are a genre of art that captures scenic view. A cityscapes is a work that showcases aspects of cities. Seascapes refer to art works that depict the sea. - **Animals** - For prehistoric artists, beasts represented food but were also scared, spiritual beings. - **Human Figures, Portraits, and Couples** - In aesthetics, the human figure or human form in art, sculpture and other art forms involves a study and appreciation of the beauty of the human body in its depiction or presentation. - **Everyday Life or Genre** - Painting of scenes from everyday life, of ordinary people at work or recreation, depicted in a generally realistic manner. - **Still Life** - A painting or drawing of an arrangement of objects, typically including fruit and flowers and objects contrasting with these in texture. - **Image of Divinity** - Painting of scenes from everyday life, of ordinary people at work or recreation, depicted in a generally realistic manner. - **Narration and Historical** - It depicts a moment in a narrative story. **METHODS OF PRESENTING THE ART** In presenting anything, certain methods are employed in order to be effective. - **Realism** - The artist selects, changes, and arranges details to express the idea he wants to make clear. - **Abstract** - It means to move away or to separate. The art work is not realistic. - **Distortion** - A kind of abstract method where the subject is in misshaped condition. - **Cubism** - Subjects are shown in basic geometrical shapes. - **Mangling** - Subjects are cut, lacerated, mutilated or hacked. - **Elongation** - The subject is lengthened for protraction or extension. - **Symbolism** - The presentation of an invisible sign such as an idea or a quality into something visible. - **Fauvism** - Fauve artists used pure, brilliant color aggressively applied straight from the paint tubes to create a sense of an explosion on the canvas. - **Dadaism** - A protest movement formed in 1916 by a group of artist in Zurich, Switzerland. They try to provoke the public with outrageous forms of arts. - **Futurism** - This work aims to capture the speed and force of modern industrial society and to glorify the mechanical energy of modern life. - **Surrealism** - It came from the slang of super realism. It tries to represent fantastic and unnatural themes of higher reality. - **Expressionism** - It can be described as pathos, morbidity, violence or chaos, and tragedy. **LESSON 3** **SCULPTURE** **TWO PROCESS OF SCULPTURE** - **Subtraction -** The artist uses chisels, hammers, and other tools, for example in stone sculpture. - **Addition -** The artist puts together bits of clay or by welding together the metal parts. **CLASSIFICATION OF SCULPTURES ACCORDING TO MATERIALS AND METHODS OF TREATMENT** - **Stone Sculpture -** This is a sculpture in a restricted sense, which for its noblest and most excellent works made use of marble. - **Wood Sculpture -** This flourished in the middle ages. Encasing the carved work with cloth covered with chalk in order to facilitate polychromy. - **Sculpture in Metal -** This is the most lasting work. The oldest metal sculpture pieces are made out of copper alloys and bronze. - **Repousse Sculptures -** It refers to metal working technique in which malleable metal is beaten into form by hammer and puncheon. This is used for smaller subjects only. - **Sculpture in Clay -** This is a sculpture produced by molding. The clay is molded in a soft substance and it hardens either by firing or drying. - **Sculpture in Ivory -** This is the carving of ivory, generally by using sharp cutting tools. - **Glyptic -** The art of cutting gems e.g engraving of medals, coins, and seals; which have a cultural importance rather than an artistic and aesthetic. **REDISCOVERING THE ROOTS OF PHILIPPINE SCULPTURE** **1. Isabelo Tampico Y Lakandola.** He is considered to be the greatest Filipino sculptor of the 19th century. Isabelo\'s entry to the Exposición Regional de Filipinas (inaugurated in Manila in 1895) was a carving of an altar with a crucifix enclosed, used with native plant motifs manifesting art nouveau sensibilities. Frame designs of this sort were later known as \"Tampinco frames.\" **2. Guillermo Tolentino.** He represented the National Artist Awards for Sculpture in 1973. He is considered as the \"Father of Philippine Arts\" because of his great works like the famous \"Bonifacio Monument\" symbolizing Filipinos cry for freedom located in intersection of EDSA and Rizal Avenue and \"The Oblation\" in UP signifying academic freedom. **3. Eduardo Castrillo.** He was an award-winning Filipino sculptor. He was among the youngest TOYM Awardees, having received the prestigious award at the age of 29. In the 1970, he was generally considered the most avant garde sculptor and was labeled by a publication as \"the Phenomenon of Philippine Art\". He was also a jewelry artist and designer. Some of his major works are People Power Monument (1993), The Redemption (1974), and Paghimud-os (1975). **4. Napolean Abueva.** In 1976, he was proclaimed as National Artist of the Philippines for Visual Arts by then President Ferdinand Marcos. He was the youngest recipient of the title at age 46. Some of his major works include Kaganapan (1953), Kiss of Judas (1955), Thirty Pieces of Silver, The Transfiguration, Eternal Gardens Memorial Park (1979), UP Gateway (1967), Nine Muses (1994), UP Faculty Center, Sunburst (1994)-Peninsula Manila Hotel. His Sandugo or Blood Compact shrine in Bohol, Tagbilaran City is a landmark at the site of the first international treaty of friendship between Spaniards and Filipinos. **CHAPTER 2** **LESSON 1** **BASIC PRINCIPLES OF ARTS** - The elements of visual arts are considered to be the ingredients of arts. These elements are organized using various tools to make an art, which are called the principles of arts. Through these principles, the artist creates more beautiful and harmonious colors and more beautiful combinations of shapes, texture and lines. - Historically, the construction of art science through the study of style development was a revolutionary attempt of the principles of arts. Its first publication in 1915 made a foundational work in formalist art history. - In fact, the compelling artwork descriptions made it systematic, subjective, and remarkable. The text became accessible as an approach to the study of style. However, the principles of arts have been a subject to theoretical and methodological debates of art discipline in global settings. **BALANCE** Elements are arranged to create a feeling of stability in work. It is the principle of art concerned with arranging elements so no one part of a work overpowers, or heavier than any other part. Balance principle is either seen or felt by the viewer. **Balance Principle in Art has Two Kinds** **Formal Balance -** Formal balance is also known as symmetrical balance. It means two halves are mirror image. It is achieved by arranging elements on either side of the center of a composition in an equally weighted manner. It can be thought of as 50/50 balance or like a mirror image. "Last Supper" Leonardo da Vinci **Informal Balance -** Informal balance is also known as asymmetrical balance. It means two unlike elements seem to carry equal weight. When one side of a composition does not reflect the design of the other. "Whistler\'s Mother" James McNeill **VARIETY** This is a principle of design concerned with diversity. Variety is achieved by using different shapes, sizes, and/or colors in a work of art. Movement is a principle of design used to create the look and feeling of action and to guide the viewer\'s eye throughout the work of art. **HARMONY** This is a principle of arts that shows the quality of how the visual elements are working together in a composition. It is achieved when all elements have unity and cohesion, giving a sense of completion to an artwork. The dull and blue tones used in the painting "The Old Guitarist" by Pablo Picasso are united. Even the orange guitar looks like it is bathed in soft, blue light. **EMPHASIS** This is a principle of art defined as the focal point of an image, when one area or thing stands out the most. In order to bring attention to the focal point, subordination is done by minimizing or toning down other compositional elements. "The Shootings of May Third" Francisco Goya 1808 **PROPORTION** This is a principle of art concerned with the relationship of one part to another and to the whole. It refers to the relative size and scale of the various elements in a design. The issue is the relationship between objects, or parts, of a whole. In art the size relationship between an object and the human body is significant. In experiencing the scale of an artwork we tend to compare its size to the size of our own bodies. Proportion refers to the relative size of parts of a whole (elements within an object). **RHYTHM** This is a principle of art that suggests movement or action. Rhythm is usually achieved through repetition of lines, shapes, colours, and more. Rhythm is a little of both pattern and repetition, yet the rhythm can vary. The slight differences in a pattern create rhythm and the repetition of elements of art. The rhythm of a piece of art can be controlled by everything from colour and value to line and shape. **UNITY** Unity in art (also called harmony) is when all the elements and principles work together to create a pleasing image. In other words, it is the oneness of an artwork. This principle of art is used by artists to tie a composition together and achieve a sense of wholeness in a piece of art. **CONTRAST** This is a principle of art that refers to the difference between two things to create interest and tension. **VISUAL ARTS** Creations that fall under this category are those that appeal to the sense of sight and are mainly visual in nature. Artists produce visual arts driven by their desire to reproduce things that they have seen in the way that they perceived them. There are also other artistic disciplines that also involve a visual aspect, such as performance arts, theater, and applied arts. Visual art is the kind of art form that the population is most likely more exposed to, but its variations are so diverse -- they range from sculptures that you see in art galleries to the last movie you saw. Some mediums of visual arts include paintings, drawings, lettering, printing, sculpture, digital imaging. - Visual art is the kind of art form that the population is most likely more exposed to, but its variations are so diverse -- they range from sculptures that you see in art galleries to the last movie you saw. - Some mediums of visual arts include paintings, drawings, lettering, printing, sculpture, digital imaging. **BASIC ELEMENTS OF ARTS** - **Line -** Line is mark with length and direction, a line can be horizontal, vertical, or diagonal, straight or curve, thick or thin, and it shows different meaning and emotion **KINDS OF LINE** - **Horizontal Lines-** suggest a feeling of rest or repose, because objects parallel to the earth are at rest - **Vertical Lines-** often communicate a sense of height, because they are perpendicular to the earth extending. - **Zigzag lines -** convey action and excitement, as well as restlessness and anxiety. - **Curve lines -** convey energy. Soft, shallow curves recall the curves of the human body and often have a pleasing, sensual quality and a softening effect on the composition. - **Shape -** Shape and forms define objects in space. Shape have two dimensions height and width and are usually defined by line. Form exist in three dimensions with height Shape has only height and width. Shape is usually through not always defined by line which can provide it\'s contour - **Form -** Form has depth as well as width and height. Three-dimensional form is the basis of sculpture, furniture, and decorative arts. - **GEOMETRIC SHAPES AND FORM -** Geometric shapes and forms include mathematical, named shapes such as squares, rectangles, circles, cubes, spheres, and cones. Geometric shapes and forms are often man-made. However, many natural forms also have geometric shapes. This cabinet is decorated with designs of geometric shapes. - **Space -** Depth and Dimensions: Space in art refers to creating a sense of depth or three dimensions. It also includes the artist\'s utilization of the area within the picture plane. **Types of Space** - **Positive Space:** The area occupied by the primary objects in the artwork. - **Negative Space:** The area around and between the primary objects. The relationship between positive and negative space significantly influences the overall impact of the artwork. - **Color -** Colors can be described as warm (red, yellow) or cool (blue, gray) depending on the color spectrum. Intensity refers to the brightness of a color. Value refers to the lightness or darkness of a color **How Artists Use Color to Create Mood and Emotion** - **Dark colors can create a sense of mystery or foreboding** - **Light colors can convey hope or possibilities** - **Bright colors can evoke positive energy and heightened emotions** - **Dull colors can create a sedate or serious mood** - **Texture -** texture is the surface quality or feel of an object , it's smoonthness,roughness, softness,etc. texture may be actual or implied. - In the 1920s, Fernando Amorsolo and his constituents established the Amorsolo School of painting. Its influence would continue to grow for decades, where their work became widely known. - In sculpture, Guillermo Tolentino was trained in the academy in Rome. He became the proponent of classical sculpture in the Philippines, as seen in his public monuments and statues. **LESSON 2** **FILM** - Film refers to the art of putting together successions of still images in order to create an illusion of movement. - Filmmaking focuses on its aesthetic, cultural, and social value and it's considered both an art and an industry. Film can be created by using one or a combination of some or all of these techniques: - **Motion-picture camera (also known as movie camera)** - **Animation techniques** - **Computer-generated imagery (CGI)** - Filmmaking simulates experiences or creates one that is beyond the scope of our imagination as it aims to deliver ideas, feelings or beauty to its viewers. - The art of filmmaking is so complex it has to take into account many important elements such as lightning, musical score, visual effects, direction and more. That is why in famous film festivals and awards such as the Metro Manila Film Festival and Oscars, a long list of categories is considered to recognize excellence in the art of filmmaking. **DEFINITION OF CINEMA** Cinema is an art of presentation in lights that made picture possible to appear on a two-dimensional surface. It does not carry pigments on surface since the subjects are viewed in a certain limited space." This art form is governed by drama, but unlike theater, it is not presented in live medium although it is being experienced by live audience." **Elements of Cinema** **a. Time** -- this is the most important element of cinema in as much as images of moving pictures move in time. The movie director has a free way to manipulate time in a motion picture by contraction or expansion, breaks or leaps. **Aspect of Time** **(1) Physical Time** -- it is the time taken by an action as it is being filmed and as it is being projected on the screen. In the cinema, the viewer must catch what is happening in real life. **(2) Psychological Time** -- the emotional impression of the duration of the action that the viewer experiences as he watches a movie. **(3) Dramatic Time** -- means the time taken up by the events, which are suggested in the movie. **b. Space** -- the width and the depth of the perceived reality in a movie , which is made possible through the following: **(1) Scale** -- refers to the size of the objects on the screen and its relation to the surrounding area. (**2) Shooting angle** -- is a consideration given to a particular shot in relation to varied angles. **(3) Lightning** -- is a means used to give the illusion of depth a film. **(4) Frontal lighting** -- to eliminate shadow. **(5) Sidelight (cross light**) -- to sculpt the characters' features. **(6) Backlighting --** tends to create silhouettes. The light comes from behind the subject can be positioned at many angles, this technique can create unobtrusively illuminated contour. **(7) Under lighting** --suggest an off screen fire, it tends to distort features; it is often used to create dramatic horror effects. **(8) Top lighting** -- the spotlight shines down from almost directly above the face of the subject for emphatic purposes (e.g., the cheekbones) **c. Sound** -- to amply express the thought and feelings of a particular scene. Sound can actively shape how we perceive and interpret the image. (For properties of sounds, see discussion in music) **Cinematographic Techniques** **a. Cutting** -- this technique is something called editing. It consists of joining one shot with another shot. It helps eliminate unwanted scenes. The following are the transition devices of cutting: \(1) **Fade** -- it shoes a change of time and place. It shows the old image fading out and a brief period of darkness comes to the screen before the new scene gradually becomes visible. **(2) Dissolve** -- involves the superimposition of the portions of the previous shot over the adjacent portion of the next shot to show two events happening at the same time. **(3**) Iris-in/Iris-out --a commonly used device in silent movies, it involves from the edges of the screen to the center of the screen. **(4) Turnover** -- shows the whole screen turning over the continuing to the other side. **b. Camera Movement** -- camera movement helps us experience the gradual growth of ideas and emotions. The camera may move forward, backward, vertically, diagonally or horizontally. **c. Framing** -- it brings about the balance and unity. It can give a highly dramatic effect and can capture and hold the audience's attention. **History of Philippine Cinema** Philippine cinema has evolved significantly since its introduction in 1897, gaining public acceptance across the country. The genre has evolved from silent movies to talkies, black and white to color, reflecting the culture and beliefs of its viewers. The 1940s saw the rise of nationalistic films and the Japanese Occupation, which led to the introduction of the war movie genre. The 1950s saw a decline in films. The 1970s and 1980s saw a shift towards serious topics, action, and sex films, as well as the arrival of alternative cinema. Philippine cinema is now in a cycle of genres, plots, characterization, and cinematic styles, consciously imitating American films and reverting back to old styles. As an art form, Philippine cinema must adapt to the broader cultural sensibilities and ideas that shape other artistic forms, such as literature, painting, and theater. **Definition of Photography** Photography is a method of picture making developed in the early 19th century, based on principles of light, optics and chemistry. "The word photography comes from Greek words and means drawing." **Camera Handling** All cameras, simple or complicated, are to be handled with same basic rules: a\. Do not jiggle the camera when squeezing the shutter. b\. Load and unload film in dim light or shade. c\. Make sure there is enough light to shoot the picture. d\. Keep the subject in the viewfinder when shooting. e\. Focus the camera on the subject. f\. Keep watching the viewfinder not the subject. g\. Focus on the person's eyes instead of the tip of the nose. h\. Do not jiggle the camera, take a deep breath, stand still, and squeeze the shutter release very slowly. **Picture Taking** For many people, taking picture is the best part of photography. How to make people look good, catching an action shot at the right instant, putting together a series of pictures that tell a story -- these and other techniques are the part of photography that makes a great photographer.David Bordwell, in his book "The Art of Photography" says: "Nothing is more public than the expression of private feeling frozen for all time in a photography. **a. Simple Picture** The single subject photograph is the easiest to make. Sometimes, the subject is a person, an event or even animals. There are three easy ways to make a single subject photograph: a\. Shoot as close to the subject as possible b\. Shoot from a low angle. c\. Shoot from a high angle. Background clutter distracts from the main object in the photograph. A lot of dull backgrounds can be cut out from the photo by moving close to the subject. If you hold the camera low and shoot upwards, a blank wall or a cloudy sky can replace telephone and electric poles. If you the camera high and shoot down, a patch of grass or a carpet can do the same thing. **b. Making a Portrait** All you need to make simple portraits are four clamp-on floodlights with reflectors, a tripod, and a camera. Two of the floodlights should be of 500 watts, R40 type and the other two should be 150 watt R40. **The Three most important factors in a successful photographic portrait are:** **1. Position of the subject** Position the subject on a stool at least four feet in front of a simple background such as a wall. **2. Location of the lights** Place the four lights in the following: \(1) Place the key light 500-watt near the camera, high enough to cast a small shadow under the subject's nose \(2) Place a 150-watt lamp on the other side of the camera. This is called the fill light because when it is turned on, it will fill most of the shadow areas that are cast by the key light. \(3) Position the other 150-watt lamp behind the subject and point it at the wall, make sure it is out of the picture but place it close enough to the wall to cast a bright spot of light directly behind the subject, this is called the background light. \(4) The fourth light is called the hair light. It should be 500-watt spot lamp. Place it as high as behind the subject as possible, aim it so it shines directly down on the subject's head.Turn off the background light and the hair light, take a meter reading, turn on the lights, and shoot the picture. Shoot at least six different poses with this set-up. **3. Location of the camera** Locate the camera on a tripod about five feet from the subject. Set the camera so the lens is at the eye level of the subject. **c. Scenic Pictures** Scenic pictures come alive when they seem to have depth. Three ways to add depth to a photograph are: 1\. Framing the point of interest 2\. Placing the point of interest in the foreground 3\. Lighting **d. Animal Pictures** Animal pictures look best if they are: 1\. Taken close up 2\. Shot against a plain background 3\. Shot at an unusual angle **e. Action Pictures** Some basic techniques for action photography are: 1\. Panning with the camera 2\. Selecting the right angle of movement 3\. Shooting the peak of action Panning means moving the camera at the same speed as the subject and taking the picture while the camera moves. The subject's angle is also important. A picture will be far sharper if the angle of the movement is toward or away from the camera. **f. Picture Story** The elements of a picture story in a magazine and television are the same. The difference is that still photographers must get the exact picture needed to say something. "The television photographer may get a lot pictures to say the same thing." **Kinds of Picture Stories** a\. The event picture story -- has no beginning, no middle, and no end. For instance, a picture story about a basketball game might show hot dog vendors, fans, players, parking lots, arguments on the field and scoreboard b\. The sequential picture story -- must have a beginning, middle and an end. Start with a fan line at the box office, show the fan buying hot dogs and getting excited, then show the fight on the field, and then, finally the scoreboard. **g. Basic Terms Techniques and Special Effects** **a. Basics (Film Terms**) **(1) Frame** -- a single picture on a piece of film **(2) Shot** -- a single set of images from the time the camera starts to the time it stops. **(3) Cut** -- the place where two separate shots or sections of a shot are joined together. **(4) Sequence** -- a section of film that tells a story in itself. **(5) Establishing Shot** -- the opening shot of a film that sets the scene for the film, usually giving information like the place and time of sequence. **(6) Stocks Shots** -- film footage found in film libraries or a stock house of historical events or film that can be used in other productions. **(7) Rough Cut** -- the usable footage of a film out of which a movie will be made, before substantial editing takes place. Similar to a rough draft in writing. **(8) Fade In or Fade Out** -- the gradual appearance or disappearance of an image from or into darkness. **(9) Dissolve --** a transition from one shot to another in which one shot fades out while the other fades in. One shot is superimposed upon the other. **b. Camera Angles** **(1) High angel** -- the camera looks down on the subject. Can make subjects appear smaller or less important. **(2) Low angle** -- the camera looks up at the subject. Can make subjects appear larger or more important. **(3) Straight angle** -- the camera is on the same level as the subject. Usually used in news or "realistic" shots. **c. Camera Distance** **(1) Close Up** -- a shot in which the camera is close to the subject. When the subject is a person's face or face and shoulders are shown. Often used to show emotion. **(2) Extreme Close Up** -- s hot in which the camera is very to the subject. If the subject is a person's face only features such as the eyes or mouth are shown. Often used to exaggerate features so that characters look ugly or provocative. **(3) Long Shot** -- also called a full, uses the camera's full angle of view, so that the subject is a long distance away from the camera. **(4) Medium Shot** -- the shot between a long shot and a close up. With characters, it usually shows them from the waist up. **(5) Extreme Long Shot** -- a shot in which characters appear very small in the distance. **d. Camera Movement** **(1) Pan** -- the camera moves across the field of vision from left or right **(2) Tilt** -- the camera moves up or down. **(3) Zoom In, Zoom Out** -- a zoom lens moves toward or away from the subject quickly so that it is apparent to the viewer. **(4) Crane** -- the camera moves up and away. Often used to end films **e. Effects** **(1) Freeze Frame** -- a single frame of the film is repeated so that it looks like a frozen image. (**2) Fast Motion** -- the result of filming at a slower rather than the standard 24 frames per second, and then projecting the film at 24 frames per second. Movement is rapid and uneven. Fast motion is often to depict humans as machine-like. **(3) Slow Motion** -- the result of filming faster than 24 frames per second the projecting the film at 24 frames per second. **(4) Filter** -- a piece of glass or colored plastic that is place over the lens of the camera to distort the image that enters the camera. **(5) Soft Focus** -- filming is done with a piece of gauze or nylon over the lens to give a dreamy, soft quality to the images. **(6) Split Focus** -- the screen is divided, usually into halves, with a different action in each division. Often used to portray people talking in the telephone. **(7) Models** -- the use of small scale models to stimulate a scene.