Style and The Audience
Most films conform to the Classical Hollywood narrative film style, which has a set of guidelines that the films tend to follow. The story in this style is told chronologically in a cause and effect relationship. The main principle in this film style is continuity editing, where editing, camera, and sound should be considered "invisible" to the viewers. In other words, attention should not be brought to these elements.
While many films conform to these guidelines, there are other films that ignore the guidelines and bring attention to the film techniques. The films violate the standard rules of film in order to have an innovative style or bring attention to certain techniques.
The director decides what is and is not on the screen. They help guide what the audience looks at and notices. Although the audience may not consciously notice film style, it still affects the viewer’s experience of the film.
When viewers go see a film, they have expectations about a film. Based on previous experience watching films, the audience expects that there are certain techniques that are commonly found in films. For example, after a long shot there will be a cut to a closer view. If a character is walking across the stage, the audience expects the camera to pan or follow the character’s movement. Viewers expect to interact with and be a part of the film, rather than simply being shown a group of images. These expectations come from experiences with both the real and film worlds. The audience expects films to appear like real life, and be shot according a certain style. Classical Hollywood narrative film styles and the conventions of other genres help to guide the audience in what to expect.
Read more about this topic: Film Styles
Famous quotes containing the words style and, style and/or audience:
“A man is free to go up as high as he can reach up to; but I, with all my style and pep, can’t get a man my equal because a girl is always judged by her mother.”
—Anzia Yezierska (c. 1881–1970)
“I concluded that I was skilled, however poorly, at only one thing: marriage. And so I set about the business of selling myself and two children to some unsuspecting man who might think me a desirable second-hand mate, a man of good means and disposition willing to support another man’s children in some semblance of the style to which they were accustomed. My heart was not in the chase, but I was tired and there was no alternative. I could not afford freedom.”
—Barbara Howar (b. 1934)
“The director is simply the audience. So the terrible burden of the director is to take the place of that yawning vacuum, to be the audience and to select from what happens during the day which movement shall be a disaster and which a gala night. His job is to preside over accidents.”
—Orson Welles (1915–1984)