Cinema and television

Understanding new audiovisual media 6

cineytelevision

Cinema and television have many things in common, but when directing something for television or for cinema, differences are big. The type of shots used in television are, basically, the close-up or the three-quarter shot, since any other type or remote shot loses its strength and definition. Shots with two or three characters are favoured, and groups are avoided. Naturally, these limitations proper to television tend to diminish when the size and the definition of a screen is bigger (but paradoxically, this type of plans come back with the use of new screen types, such as screens on mobile phones.).

Concerning the narrative conception, the differences between cinema and television are summed up in the most lapidary way by this sentence: “Television is radio with pictures”. If the reader observes a television series, he/she will notice that even without looking at the screen, it can be easily followed and nothing important will be “missed”. Consequently, scriptwriters in television usually do not write scenes that are incomprehensible without
pictures.

 

[Note in 2016: Obviously, in last years, the list of quality television series that are not limited to being “Radio with pictures” have increased astonishingly in Premium or Cable TV Channels, like HBO, AMC, Netflix, Amazon and even in conventional channels too. They have also improved screens, including mobile devices, both in size and, especially, in definition]

To be continued…


Photomontage: Daniel Tubau

ficha-danieltubau-en

Understanding New Audiovisual Media

1) Why the Seventh Art? 
(2) Audiovisual extensions
(3) Cinema and other media
(4) Cinema and comic
(
5) Cinema and literature

contact: [email protected]

 


lasparadojasreji-logoThis article is a selection of passages taken from my book, The scriptwriter’s paradoxes: rules and exceptions in the practise of a scenario (Las paradojas del guionista, Alba Editorial, 2007) aimed at people interested in scriptwriting, and narration in general. The book explores the different theories and manuals existing on the subject, while listing forty paradoxes with which a scriptwriter might be faced.

Web page: Las paradojas del guionista
Amazon


ficha-danieltubau-en

Understanding New Audiovisual Media

1) Why the Seventh Art? 
(2) Audiovisual extensions
(3) Cinema and other media
(4) Cinema and comic
(
5) Cinema and literature

contact: [email protected]


lasparadojasreji-logoThis article is a selection of passages taken from my book, The scriptwriter’s paradoxes: rules and exceptions in the practise of a scenario (Las paradojas del guionista, Alba Editorial, 2007) aimed at people interested in scriptwriting, and narration in general. The book explores the different theories and manuals existing on the subject, while listing forty paradoxes with which a scriptwriter might be faced.

Web page: Las paradojas del guionista
Amazon


The scriptwriter’s paradoxes

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The 38 paradoxes

Las paradojas de Las paradojas del guionista, aunque aquí se añaden nuevas ideas y consideraciones, mostrando que incluso existen interesantes excepciones a las propias excepciones.

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Reglas y excepciones (Las paradojas del guionista)

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