Cinema frame

1- State the purpose of the analysis

We can start the project with a simple question about interpretation. The film is wordless and the animals are not portrayed very expressively. So how do we understand the details of the action, the intentions of the characters? And how does the viewer’s emotion evolve? We will therefore focus on the tools which will allow on the one hand the understanding of the situations of the story told and on the other hand the creation of an emotion. As we try to concentrate on the images, we can start with a new viewing without sound, with these ideas in mind.

2- Present cinema vocabulary

Before beginning the study of film itself, it is useful to introduce the usual notions used to describe images. We will define this way:

• The frame, as a cut-out (choice) in what we want to show, as well as the outside of the frame, what is suggested but not shown in the frame. We can make analogies with painting, photography, drawing.
• The shot as a temporal unit of the film and as a “frame which lasts over a certain duration” (we do not need to address questions of connection and editing)
• 不同的镜头尺度（普通镜头、远景、中景、美式镜头、特写、特写、非常特写），每个尺度都对应着某种场景和人物之间的关系，影响着对所表现内容的理解和表现力。
• 相机位置和移动（移动、平移、变焦、高/低角度）作为保留或发展特定画面、引入特定感觉的手段。
• 电影中可能使用的某些剪辑图形：正镜头/反向镜头（从相反方向交替两个视图，允许比较两个视角）和溶解（这里主要用作椭圆）。

3-Use the tools on selected sequences of the film

该练习包括要求孩子们将电影中的图像与之前介绍的元素匹配到某些选定的序列。 Each sequence is made up of a certain number of shots which must be described by reusing the vocabulary covered.

可以要求他们以 2 或 3 人为一组，在预先制定的问卷调查表上工作，并附上说明不同计划的照片，或者集体参与“剪出”计划，讨论投影图像。 In this second case, they can themselves represent the plan in drawing (on blank questionnaires) to translate the plan scale.

当无法准确应用词汇或犹豫时，请孩子们注意这种犹豫以及由此产生的问题。

建议的顺序是：

• The character's introduction sequence (0'00'' - 0'35'' - 6 shots)
• The wandering in the jungle and the appearance of the lemur (1’40’’ – 2’25 – 12 shots).
• Awakening and the journey (4’03”-4’49 – 5 shots).
• 失败的重聚（5'16-5'37 - 4 次射击）。
• The crocodile attack (5’34-6’38” – 20 shots).
• The flight forward until the cliff falls (6’39-7’04 – 12 shots).

4- 关于序列分期的讨论

从前面的表格中，孩子们将比较他们的选择并讨论舞台问题，即在理解和表现力方面选择某种技术：这如何有助于更好地理解正在发生的事情？这会激起什么情绪？ This stage takes place in the form of a collective discussion, led by the teacher.

在这一点上，记住所提供的词汇最初是为了描述电影而设计的：用真实相机拍摄的人物角色可能会很有用。 There is therefore a priori a certain inadequacy with this film, a cartoon presenting animals. In particular, close shot scales are made to highlight emotions on the face, which finds a limit in our case.这是一个展示电影等媒体的形式和技术产生指导解释的代码的机会，这些代码在这里被广泛利用。

为了讨论场景的表现力，角色和观众的情感暗示、传递或反应的方式，我们可以引入一个额外的工具。 We could ask ourselves what is the focal position on each plane.图像是谁的目光？为了简化，我们可以区分两种情况：因此，图像可以被构建为好像是故事之外的目击者所看到的（“外部”焦点），或者相反，是由其中一个角色看到的（“主观”焦点）。这将有助于更好地理解那些由画面暗示恐惧的镜头，这些镜头就好像画面外的一个角色所看到的，而我们还没有见过这个角色正在监视小象。 This is the construction of an asymmetry of gaze, where the spectator is disadvantaged, just like the character. Someone is looking at the character, about to interact with him, but we don't yet know who it is.

5- Consolidation of achievements and expansion

最后，孩子们被邀请选择一个所研究的场景，并利用他们的记忆来引用与他们相似的场景的例子。 The examples cited can come from cinema (film, cartoon), television (music video, advertising), comics, or even literature.这项工作可以让他们在家做，例如为期一周。他们必须提供准确的来源参考并描述相关场景，以及他们在舞台表演中感受到类比的原因。由于能够以物理方式显示序列可能很复杂，因此他们必须以书面形式对其进行精确描述，从而重复使用所引入的词汇。