Blog Post 7: Long, Medium, and Close Up shots

The cinematographic progression of scenes usually follows the order of a long shot to a medium shot and finally a close up.  Using this technique, it is easy to establish the setting in the long shot, define the characters and provide a focus in the medium shot, and finally relay the important details and emotions in the close up.  Though this is normally a steadfast formula for a scene, there can be an even more dramatic effect with the reversal of this progression.  A great example of this reverse progression comes from the classic “flying” scene in James Cameron’s Titanic.

Instead of focusing immediately on the setting, the attention of the first part of the scene establishes the emotions of the characters with the use of close up shots.  Rose has slight feelings of uncertainty initially and through the close up it is well conveyed while simultaneously being juxtaposed to Jack’s confidence.

Following the close up, the progression moves to a medium shot to move the focus away from the emotions of the characters and more toward the setting they are in.  The scene is not focused on the two characters emotions individually but rather on them together in a broader sense.   

The progression then goes to the long shot to finally establish the scope of the scene.  It establishes Jack and Rose at the front of the enormous Titanic and reorients the viewer to the fact of where they are.  This progression, reverse from the standard, goes from an intimate close up to an ostentatious long shot.

Then to add even more dimension to the scene, the camera returns to an extreme close up to establish the emotional response of the scene and the change in Rose’s emotions of uncertainty to sentimentalities of trust.

(screenshots from the movie Titanic)