Question

FILM STUDY QUESTIONS

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Think back - what is the 180 degree rule?

That a camera should never turn more than 180 degrees during a single shot
That a camera should never cross a line drawn through the action between shots
That a camera should never look up beyond the vertical (lean over backwards)
That we need to maintain film at a temp lower than 180 degrees F
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Out of Sight (Steven Soderbergh, 1998) *complete seduction sequence*

Why do you think that the director chose to show this sequence (related scenes) in this way? How would it have felt different if he had shown the scene in the bar *followed by* the scene in the bedroom?
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How does the film maker signal to us that we have moved from the hotel bar to the bedroom on the first occasion that it happens? Explain how the editing in the first shots following the shift tells us that we have moved.
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The protagonists role-play with each other at the table. How does the film visually signal to us that we are seeing Gary and Celeste or that we are seeing Jack and Karen, talking to each other. What changes do you see (think of mise-en-scene, cinematography and editing), and what do you think that they signify. Find at least 3 differences between the shots that demonstrate that a we are seeing them play themselves or their 'alter-egos', and explain the significance.

Answer 1

The 180 degree rule ensures consistent spatial orientation in a scene, and Steven Soderbergh's non-linear editing in 'Out of Sight' enhances narrative tension. Transitions between scenes are indicated through visual cues and editing, while role-play is distinguished through changes in mise-en-scène, cinematography, and editing.

Step-by-step explanation:

Understanding the 180 Degree Rule and its Application in Film

The 180 degree rule is a cinematography guideline that suggests that two characters in a scene should maintain the same left/right relationship to each other. This rule asserts that the camera should not cross a line drawn through the action between shots, as doing so can disorient the viewer by flipping the visual perspective. When framing a sequence, careful consideration of camera movement and positioning is necessary to preserve spatial continuity.

For Steven Soderbergh's film Out of Sight, the seduction sequence is depicted uniquely by intercutting the scene in the bar with the scene in the bedroom. This non-linear editing creates a sense of intimacy and connection between the characters before it occurs chronologically, enhancing the narrative tension and emotional impact. It establishes a deeper relationship and engagement with the viewers, as opposed to a more straightforward and possibly less engaging sequential progression.

The transition from the hotel bar to the bedroom is signaled through both visual cues like changes in lighting and setting and editing techniques such as cross-cutting. Editing plays a critical role in storytelling, enabling filmmakers to piece together shots that can imply time passage or emotional progression, even when the scenes were shot separately.

During the role-play, visual signals like changes in mise-en-scène, cinematography, and editing distinguish between the characters acting as themselves or their 'alter-egos'. Elements such as costume alterations, body language, and shot composition contribute to this differentiation. These changes signify the shifting dynamics between the characters and the blurring of their personal and imagined identities.