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The cinematographer may manipulate multiple elements of this frame: (1) Aspect Ratio — the dimensions of the frame (sometimes native to format but often altered); (2) Aperture — the level of light exposure, which also affects depth of field; (3) Composition — the placement of the camera and arrangement of elements within the frame; (4) Color — may be affected by film stock, lighting, filters, processing, and digital manipulation; (5) Depth of Field — the clarity and sharpness of the image foreground, middleground, and background; (6) Focal Length — the apparent perspective and spatial relationships between objects within the frame as determined by the type of lens used; and (7) Texture — the image’s level of clarity, resolution, and grain, all affected by medium used, lighting, and post processes.

A series of continuously recorded frames is called a shot.

As Howard Rodman has argued, “Screenplays are, to use James Schamus’s fine phrase, ‘brutally instrumentalist.’ They either become films, or they don’t.

If all other observations about the screenplay are open to debate, one is not: every screenplay is written for the camera.

A common method of implicit camera instruction that side-steps technical comment is to use the phrase “we see,” and this is not capitalized.

Consider the following hypothetical sequence: “Michael enters the long hall and brushes an eyelash from his cheek.

For crane and jib shots, the camera is mounted on a long arm for sweeping, high-angle movements, usually creating an epic feel or point of emphasis.

Shots are generally identified by angle of the camera (high, normal, low, or Dutch) and the size of the subject in the frame (Close, Medium, Full, Wide, etc.).

On the contrary, screenwriters have employed a variety of strategies to influence the cinematographic and editorial designs of the motion pictures made from their scripts. [Back to Page Topics] William Goldman once quoted an anonymous actor as saying, “You goddam screenwriters — putting in all that camera crap — trying to direct the picture is all you’re doing.

This section will explore some of these strategies. I The star in question is complaining about explicit technical comments in the screenplay text, but all screenwriters write for the camera, whether they appeal to technical comment or use other means.

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Changes between frames within the shot create the illusion of motion that is the definitive trait of cinema.

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