Assignment on The Cinematography in Pride and Prejudice

Introduction of The Cinematography in Pride and Prejudice

Cinematography, which exactly means , has been considered as an important element to be presented by any types of movie (Brown). On the other hand, it has turned out to be an even bigger reputation when filming a   The movie was initially published in the year of 1813, Pride and Prejudice is the second novel written by Jane Austen, which was written between 1797-1798 at the time Jane Austen was only 21 years old.

The novel was initially titled with “First Impressions” and it was rapidly shaping out its own path into print. The “First Impressions” was written within the epistolary presentation, which is in the letters’ form, that, at that time, was tremendously famous. The movie itself now has been considered as a classic style of the epistolary presentation which developed all through the Romantic era in England at the end of 18^th and the beginning of 19^th centuries. In addition to this, Pride and Prejudice have also been considered as a part of the novel’s manners genre. The movie has also been critically recognized as an exclusive novel which has displayed completely around the social manners, as well as the age customs wherein gender, class, along with social position were strictly arranged. Pride & Prejudice is a romance film directed by Joe Wright which exposed in the year of 2005 and based on a novel written by Jane Austen in the year of 1813. The movie has successfully depicted five sisters who belong to an English family of wealthy aristocracy by way of they were dealing with some essential issues such as marriage, ethics as well as misconceptions (Austen).

An accurately "lively" visual experience has formed the art within the term of cinematography itself. Director Jon Wright together with cinematographer Roman Osin have implemented their “informative perceptions” efficiently all over Pride and Prejudice, by implementing   as well as , along with some further techniques, with a purpose to conjure an anticipated outcome derived from the audience. In this essay, we will explore and analyze on every single thing of the above-mentioned techniques, describing how they are applied in Pride and Prejudice along with the consequence.

Long Take

In the context of filmmaking, a long take described as a shot eternal which is considered to be a quite longer than the conservative editing step, whether of the film itself or else of various different films in over-all. Substantial movement of the camera, as well as elaborate delaying, are every so often included as the essentials in long takes, but then again, not certainly so (Hayward). The different meaning of "long take" must not be misunderstood with the definition of "long shot", which actually denotes to the exact distance between the camera itself with its subject, and also not to the chronological distance of the shot. A length for a long was initially restricted to a context of how much film that a motion picture camera has the capacity to hold. But then again, the initiation of digital video has significantly lengthened the supreme latent length of every single take.

Director Jon Wright together with cinematographer Roman Osin has created an amazingly-implemented long take within the ball scene at Netherfield, which has also made an excellent effect in the movie. The long take starts right after the girls of Bennet meet Mr Bingley along with Elizabeth, his sister, who encounters the hall, unaccompanied, roaming around her surroundings for more than once. At that time, the camera has beautifully tracked all of her movements within a medium shot, then maintaining Elizabeth as the subject of its focus, yet, as well as displaying profundity of ground, as the audiences are able to see both Mr and Mrs Bennet who was standing still to the side. 

Then the camera began to frame the beautiful face of Elizabeth within a medium shot, when she was starting to walk throughout a passage, with how the camera was also moving backwards following her figure within a medium shot. Mr Darcy was also seen encountering the shot commencing the screen’s left side, in the background, passing through right behind an unconscious Elizabeth, right before leaving the frame from the right side. At the time when Elizabeth was entering the ballroom, the camera was continuing to move back, which filming her in a long shot, along with some characters as well as further props approaching amongst Elizabeth which was remaining as the focus point, and the camera itself. Then, the camera was making a left movement, following Elizabeth at the time she was encountering into the ballroom, and then was walking towards approaching Charlotte. At this point, the camera was zooming in to a medium shot and following how they both have started the dialogue. When both Elizabeth and Charlotte was leaving the ballroom and went to seek for Mr Wickham, the camera was remaining to trace both of ladies who were moving left, and then went forward, tracing them, right from behind as the two ladies encounter into a different room. At the time when they were entering into that different room, the camera was positioning itself right in the entrance, and then was potting to the left side, while still keeping the two ladies as the focus point of camera, following two of them walked around a huge pillar, heading forward to the midpoint of the room or frame. Then, another lady (Jane Bennet) was appeared to enter the frame right commencing the right side, and then was approaching Elizabeth and Charlotte in the frame focus, this captured by the camera which was shooting them within a long shot. Later on, Mr Collins was also entering the scene, right from the high left of the frame as she was approaching the ladies to talk, at this time, the camera was enduring motionless, as Mr Collins was requesting Elizabeth to dance. Finally, the scene was ended on this frame, along with presenting  of Elizabeth who was prepared herself to dance.

This long take was thrived in setting up the Netherfield ball’s events, and also was working well as a great narrative tool, in which imperious information meant for considerate the rest of the whole scene was carried in the long take, started with when Mr. Darcy who was avoiding Elizabeth, then the scene of Elizabeth who was seeking out for Mr. Wickham who was not appeared, and then the scene of Mr. Collins who was making his purpose on the way to Elizabeth acknowledged. The long take was visually succeeded, with the fact that it has emerged the entire audiences into the whole scene of the ball, with the purpose of producing an excitement sense. At the time when the camera was keeping Elizabeth as the focus point, there was also a display of field profundity within the long take, which was eventually enabling the audiences to get a lot of information by viewing the various secondary characters who were moving in and out of the frame, along with the elements of  such as costumes in addition to props which were being presented in short-term close-ups, that quite different in old-style edited scenes. Indeed, there is a somewhat unquestionably sense of excitement when viewing unedited action.

A two shot could be described as a style of shot wherein the frame comprehends two actors or also known as the subjects. The subjects do not necessary to be side by side, or next to one another. In addition to this, there are a lot of typical two shots which have only one exclusive subject within the focus along with another subject located in the background (Fabe).

Classic two shots could be presented as a typical shot which using a medium lens,  or else closer (the term two shot is actually a brief term for "medium two shot"), and display the characters with a purpose to enable the audience to see both of their faces clearly. Broad variations in the context of two shot consist of two actors in profile, one actor in profile, as well as the other 3/4 or else completely towards the camera, two actors who were looking towards the camera whether alongside, or else with one actor will be behind the other one, one actor with their back to another actor, at the same time as another actor looks at them.

In the movie Pride and Prejudice, Jon Wright was using the angles of the camera to designate the entire audience the most powerful character in the scene, shooting the character under an eye level within a , and creating an appearance of larger figures (Pramaggiore and Wallis). Relatively, the further susceptible character within the scene was appeared to be framed in a , above eye level, and creating an appearance of smaller figures. The audiences were able to create the supremacy subtleties amongst the characters, for the reason that the camera is silently deploying the appearances of the character. The end of scene which presented Mr. Darcy and Elizabeth who were standing up in a field and having a conversation with their dialogue were displayed through . The frame remains on a close-up angle of Elizabeth’s beautiful face, previously before it was jumping to a two shot of Elizabeth and Mr. Darcy, when she was approaching closer to him, grabbing his hand and then kissing it. At the time Elizabeth and Mr. Darcy were leaning in towards one another, the camera was slowly zooming in on them, touching from a  in the direction of . In the concluding of two shot, both Elizabeth and Mr. Darcy were visually appeared to be equal in the frame, without any camera angles and create a position of one as tougher while one as weaker, signifying that in the form of love they are, eventually and ultimately, equal. This is actually a piece of evidence to the , with how both Jon Wright and Roman Osin were using an inconspicuous camera technique to present an intricate theme.

Framed shots, or also known as framing defined as one of the tricks in cinematography that intended to frame an anticipated focus point. A focus point could be framed in the typical edges of the picture itself, or it could also be framed by a diegetic frame inside the image of the film, for example such as an entrance, a window or else a mirror. Having an actor who stands in an entrance, within a medium or else long shot, is a great example of framing, functioning as a type of intuitive indication to the audience which simply mentions that the attention is required to be focused to the scene that displayed in the frame (Monaco).

In the movie Pride and Prejudice, the framing technique was used so many times. One example we can see from the scene in which Elizabeth was, every so often, getting framed in entrances, and representing her existence at a whirling theme in her life, by way of she steers among her commitment to her family, and, on the other side, her personal desire for Mr. Darcy. In the third act of this film, both Jon Wright and Roman Osin have depicted a series of pictures resemble the Bennet family, whereas the scene was positioned outdoor of Mr and Mrs. Bennet’s chamber window, the camera was zooming in and made the frame of window to be equivalent to the frame of picture, along with displaying a medium two shot of the actors who were laying and talking in bed. By way of the camera was panning to the right side, there was a concluding framed shot made as Mr. Bennet was seeing down in the direction of his wife, this scene was framed in the window’s bars.

Then the camera was enduring to pan right side, along with the screen which was going black as per the frame is occupied with the outdoor of the house at a night situation. One more window, later on, was entering the shot commencing from the right side, as the window framing both Catherine and Mary within a profound focus medium shot, in place of how Mary was reading out loud. The camera was panning up as well as to the left side, displaying Elizabeth who was framed in an upstairs window roaming around, right before the camera then was panning left to a different window which was framing Elizabeth and Jane who were talking on a bed, as well as right before cutting down to  of Jane, commencing inside the chamber. The scene was shot in a single take. In addition to this, there was an exhilarating sense to it: almost a similar thing with what given by a long take, in which the audiences were eventually getting to see all of the characters to be unedited, and for this reason, this is definitely an exciting experience for all of the audiences. As the critics have said, there could be a huge of information meant for the audiences to take in along with various window frames that supported in directing the attention from the audiences to a scene that they were required to be focused on in every single picture.

Conclusion of The Cinematography in Pride and Prejudice

This essay was written with a purpose to analyze the cinematography derived from the movie Pride and Prejudice, explicitly in what way the director Jon Wright together with cinematographer Roman Osin have applied the long takes, two shots as well as the framed shots, in order to produce captivating moments for the audiences on screen. By elaborating the entire scenes, as well as performing a shot-by-shot analysis, this essay has approved that cinematography is not merely an art of “recording movements.” Instead, the cinematography is also could be described as the art of inducing the emotional responses derived from the entire audiences, as well as backing up some intricate themes within the narrative. Pride and Prejudice has proposed that cinematography requests to the intuitive of the audience, the same way as it does the sensible: by way of we watch the films, there are a number of visual indications that we could receive deprived of recognizing what we have done, and for this reason, an emotional response was represented with the solitary evidence.