and duchess of York at a cocktail party at a
royal country house. Because she is not a
member of the royal family, she is not offi-
cially entitled to take the role of host;
nonetheless, her face registers her self-
confidence.- In a close-up(CU), the camera pays very
close attention to the subject, whether it is an
object or a person, but it is most often used
in close-ups of actors’ faces. Although it tra-
ditionally shows the full head (sometimes
including the shoulders), it can also be used
to show another part of the body, such as a
hand, eye, or mouth. When focused on a face,
the CU can provide an exclusive view of the
character’s emotions or state of mind, yet it
can also show a face lacking emotion or
thought. In image [5] we see George VI suc-
cessfully deliver a radio speech in September
1939 informing the nation that Great Britain
has declared war on Germany. It is, for him, a
moment of personal and professional tri-
umph, won through his evident determina-
tion and the efforts of his mentor. - The medium close-up(MCU) shows a char-
acter from approximately the middle of the
chest to the top of the head. It provides a
view of the face that catches minor changes
in expression and provides some detail about
the character’s posture. Image [6] portrays
speech therapist Lionel Logue as he begins
his sessions with the future king of England. - An extreme close-up(XCU or ECU), a pow-
erful variation on the CU, is produced when
the camera records a very small detail of the
subject. Comparing images [5] and [7], you
can see that focusing on the future king’s
mouth and his aggressive repetition of the
word “father” show how eager he is to break
the psychological hold his father maintains
on him.- Note: you can more accurately label various
shots according to the number of people in
them. As is obvious, a two-shotcontains two
characters, a three-shot, three characters,
and a group shot, more than three people.
Depth
Because the image of the movie screen is two-
dimensional and thus appears flat (except for
movies shot with 3-D cinematography), one of the
most compelling challenges faced by cinematogra-
phers has been how to give that image an illusion
of depth. From the earliest years of film history,
filmmakers have experimented with achieving dif-
ferent illusions of depth. D. W. Griffith was a mas-
ter at using huge three-dimensional sets in such
movies as Intolerance(1916; cinematographer: G. W.
Bitzer). A more sustained effort to make the most
of deep-space composition began in the late 1920s.
Many directors and cinematographers during this
decade, especially those who were directing musi-
cals with large casts and big production budgets,
experimented with the technique of creating lines
of movement from background to foreground to
foster the illusion of depth.
For example, in Applause(1929; cinematogra-
pher: George Folsey), Rouben Mamoulian created
spatial depth by organizing a line of burlesque252 CHAPTER 6 CINEMATOGRAPHY
Shot types [1] Extreme long shot An extreme long shot of
the exterior of Sandringham House, from which King George
V delivers his annual Christmas address, humiliating his son in
the process. [2] Long shotA long shot of the interior of
Westminster Abbey, where the archbishop of Canterbury and
other church officials discuss the forthcoming inauguration of
King George VI. [3] Medium long shot A medium long shot of
the interior of Lionel Logue’s studio. The physical distance
between the Duke of York and his mentor reflects both royal
protocol and the duke’s reluctance to undertake therapy. [4]
Medium shot A medium shot showing Mrs. Wallis Simpson
greeting guests at Balmoral House, acting, quitecharacteristically, as if she owned the place. [5] Close-up shot
In this close-up shot, we see (and of course hear) King
George VI, having overcome his stammer through diligent
therapy, deliver the most important radio address of his reign,
one that galvanized people’s support of him. [6] Medium
close-up shot In this medium close-up shot, at the outset of
the future king’s lessons, we see Lionel Logue, his mentor, a
figure whose poise and confidence are evident throughout the
movie. [7] Extreme close-up shot In this extreme close-up
shot, we see one aspect of speech therapy: The Duke of York’s
repeatedly saying the word “father” as if to make the king’s
intimidation of him vanish from his consciousness.