“Time is the main formative element of cinema.”

——Andrei Tarkovsky, Sculpting in Time (1986)

Esculpiendo el tiempo: 2010

Many viewers focus solely on the narrative when watching films, yet cinema’s true allure often lies concealed within its audiovisual nuances—a single frame composition, a dolly shot, or a sound effect can all generate distinctive cinematic storytelling. These elements collectively form what is termed audiovisual language. This  toolkit centres on analysing shot sizes and compositions.

Preparation Before Commencing

Smartphone or computer, paper and pen or electronic device capable of drawing

Ready? Now let us delve into the world of audiovisual language.

Step 1：Understanding the fundamental principles of shot size and composition（6 minutes）

Within the visual language of film, shot size and composition constitute the most fundamental and core visual elements. They determine how a shot shapes emotion, conveys information, and establishes a relationship with the audience. Grasping these two concepts represents the first step into the realm of film analysis and creation.

Shot size: Shot size refers to the distance between the camera and the subject being filmed, influencing the audience’s sense of intimacy, oppression, or detachment towards characters or scenes.

• Wide shot: Emphasises the environment, with people appearing small, evoking a sense of solitude, grandeur, and insignificance.

  

  Downtown Vancouver Skyline Evening Wide | Shot on Canon Rebe… | Flickr

• Full Shot: A shot encompassing the entire figure, showcasing movement and relationships.

  

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• Medium Shot: Above the waist, used for dialogue and everyday situations.

  

  A Man Interrogating Another Man · Free Stock Video

• Close Shot: Above the chest, positioned close to the subject, conveying intense emotion and psychological tension.

  

  Ultimate Guide to Camera Shots [50+ Types of Shots and Angles in Film]

• Close-up: Focusing on eyes/mouth/object details, sharp focus, heightened tension.

  

  Free Images : green, color, blue, eyebrow, mouth, eyelash, close up …

Composition: Composition determines how elements within an image are arranged, thereby influencing narrative, atmosphere, and visual guidance.

• Rule of Thirds: Position the subject at the intersection points for a naturally pleasing composition.

  

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• Centred Composition: Positioning the subject squarely in the centre conveys power, oppression, or a sense of ceremony.

  

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• Symmetrical/Asymmetrical Composition: Establishing a sense of stability or imbalance.

  

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• Leading Lines: Roads, window frames, and other elements that guide the viewer’s gaze.

  

  australia, riverside, tamar island wetlands centre, leading lines …

• Negative Space Composition: Extensive blank areas create a sense of solitude, suspense, or space for contemplation.

  

  negative space | Hansen de Sade | Flickr

Step 2:Randomly select a scene card(3 minutes)

Select a number at random from 1 to 3, turn over the scene card corresponding to that number, visualise the imagery based on the card’s textual description, and attempt to comprehend the emotion conveyed by the shot. Should you wish to try again, select another number and repeat the same steps.

• Scene card 1:

This is a wide shot, with a stone-built prison in the background. The walls are weathered and cracked, the windows arranged in neat rows, presenting the quintessential style of a controlled environment. The figures occupy only a small portion of the frame. Employing the rule of thirds, a man clad in a light blue shirt sits alone at the base of the stone wall on the right, positioned roughly one-third into the frame. His legs are drawn up beneath him, his head bowed and shoulders slumped, conveying a dejected and powerless posture. This stance contrasts starkly with the vast, empty expanse, accentuating his profound isolation and sense of confinement.

• Scene card 2:

This is a full shot. On the right side of the frame stands a young man in a black suit, carrying a rucksack. He tilts his head upwards towards the diagonal sky, his posture conveying a hint of nervousness and yearning. Surrounding him are high walls covered in lush greenery and immaculate tarmac roads. In the distance, the entrance to a building with a ramped approach is visible. The overall environment is meticulously neat and tidy, characteristic of an affluent neighbourhood’s streetscape.The dark high wall on the left and the green wall on the right form a narrow passageway. Though brightly lit, the space carries a sense of confinement.

• Scene card 3: 

A man and a woman sit on either side of the rear seat, their hands shackled together at the centre of the seats. Their postures are rigid, devoid of eye contact. The man’s expression is restrained and sombre. The woman gazes sideways out of the window, her eyes conveying detachment and complexity. The background features overexposed light streaming through the car window, while the interior remains dimly lit. The bright external light contrasts sharply with the gloomy cabin.

After selecting your choice, use 30 seconds to record two words describing the emotion conveyed by the shot.

Step 3: Use your imagination to recreate the shot (5 minutes)

Reconstructing scenes with simple lines can effectively help beginners translate abstract analytical language into concrete visual understanding. Take out paper and pencil or suitable drawing tools. Combine the newly acquired knowledge of shot sizes and composition with written descriptions, infusing your perceived emotions to let your imagination run free! Visualise the shot and sketch it out simply. Note: This requires no artistic skill whatsoever—simply use basic lines and do not aim for precision!

Step 4: Interpreting the shot (6 minutes)

View classic film sequences corresponding to the aforementioned plot cards, demonstrating how shot sizes and compositions convey information and shape the emotional tone of these scenes.

• Scene card 1:

Reference Film: The Shawshank Redemption（1994）

Previously: At this point, the protagonist Andy had already served some time at Shawshank Prison, finding himself in a phase of adapting to prison life while refusing to abandon hope. Previously, he had been wrongfully imprisoned for the murder of his wife and her lover. Upon his initial arrival, he endured bullying and suppression by the guards. However, by helping a guard evade taxes, he gradually carved out a degree of breathing space for himself. In this scene, he sits alone in a corner, having just finished his daily labour duties and temporarily escaped the collective oppression of prison life.

Shot Analysis:This is a wide shot employing an open composition: the prison’s stone walls and architecture dominate the background, occupying over 90% of the frame. Andy appears as a diminutive figure, huddled in the right-hand corner of the frame. This creates a visual sense of oppression, where the environment engulfs the individual, directly conveying the prison’s objectification and confinement of Andy.

The composition employs the rule of thirds: the lines of the stone walls and the windows and doors of the buildings form an invisible cage, framing Andy within it. Positioned at the one-third point, Andy reinforces the metaphor of dual imprisonment—both physical and psychological. This shot embodies Andy’s silent resistance: rather than hysterics, he occupies a minuscule space within the prison’s confines through his crouched posture. This conveys his vulnerability while hinting at the strength he quietly accumulates beneath the oppression, foreshadowing his eventual escape.

CRÍTICA THE SHAWSHANK REDEMPTION (1994) . POR LAURA OLIVETO : Dragster …

• Scene card 2:

Reference film: Parasite（2019）

Previously: The impoverished family had been crammed into a semi-basement, living in dire straits. The man’s friend, departing for overseas, recommended him for a tutoring position with a wealthy family’s daughter. Seizing this chance to enter the upper echelons, the man donned a borrowed cheap suit and carried forged credentials as he arrived in the affluent neighbourhood. This shot captures his arrival at the street where the wealthy family resided. Having just emerged from the cramped, dilapidated slums into the neat, prosperous enclave, he felt both nervous and filled with longing for this respectable position and the life of the upper classes.

Shot Analysis: This is a full shot, with the man standing before the camera, his head tilted upwards. Utilising leading lines, the high wall on the left and the wall covered in greenery on the right form a passage extending into the distance. This not only highlights the spacious and refined nature of the affluent neighbourhood but also positions the man, clad in a cheap black suit, on the right side of the frame in a lowly stance. This reinforces the sense of alienation felt by a lower-class individual intruding into an upper-class space. His gaze fixed upon the direction of the affluent residences reveals both an aspiration for the upper-class lifestyle and an underlying tension and uncertainty. This foreshadows the insurmountable divide between social classes.

Lifescape / 生活風景: 寄生上流（기생충）——沿著階梯走上意外的最小阻力之路

• Scene card 3:

Reference Film: Decision to Leave（2022）

Previously: Hai Jun, a police officer, becomes entangled with suspect Rui Lai over a mountaineering death case. During their investigation, a complex affection blossoms between them. Rui Lai is the true perpetrator, and though Hai Jun discerns the truth, he finds himself torn by conflicting emotions. Rui Lai’s crimes are fully exposed, and as a police officer, Hai Jun arrests her according to the law. Handcuffed together, they sit in the backseat of the police car, en route to the station.                                          

Shot Analysis: This is a close shot employing symmetrical composition, with the male and female leads seated on either side of the car’s rear seat. Handcuffs connect their hands at the frame’s centre, creating a symmetrical yet restrained visual structure. This reinforces both the physical constraints of police and suspect while metaphorically representing their emotional entanglement. The handcuffs become the visual focal point, making restraint the explicit symbol of the frame. The characters’ rigid, unresponsive postures convey the relationship’s estrangement and weight. This shot encapsulates their dynamic: the handcuffs represent both the outcome of the crime and the symbol of their emotional bond.

영화 “헤어질 결심” 리뷰 : 박찬욱 감독의 심오한 느와르 로맨스

Summary

This toolkit centres on fundamental concepts of audiovisual language, progressively guiding beginners through how cinema employs visual and auditory elements to narrate stories—from shot sizes and compositional techniques to emotional conveyance and narrative function. Through analysis and recreation exercises of three classic film sequences, learners not only grasp the purpose of diverse shot forms but also deepen their appreciation of the emotional layers and narrative power inherent in imagery through hands-on drawing and interpretation.
This toolkit also highlights the expansive application of audiovisual language within contemporary art, where numerous art films, video installations, and cross-media works draw upon cinematic structures and shot grammar. Mastering these foundational analytical methods will sharpen learners’ ability to interpret visual works, whether originating from mainstream cinema or contemporary art contexts.  May this toolkit serve as your first key to unlocking the audiovisual language of cinema and the world of contemporary art, helping you develop your own visual mode of thinking for future viewing and creative endeavours.

Reference

Bazin, André. 1967. What Is Cinema? Vols. 1–2. Berkeley: University of California Press.
Block, Bruce. 2020. The Visual Story: Creating the Visual Structure of Film, TV, and Digital Media. 3rd ed. New York: Routledge.
Giannetti, Louis. 2013. Understanding Movies. 14th ed. Boston: Pearson.
Tarkovsky, Andrei. 1986. Sculpting in Time: Reflections on the Cinema. Translated by Kitty Hunter-Blair. Austin: University of Texas Press.
Bordwell, David, and Kristin Thompson. Film Art: An Introduction. New York: McGraw-Hill.
Mercado, Gustavo. 2010. The Filmmaker’s Eye: Learning (and Breaking) the Rules of Cinematic Composition. Burlington, MA: Focal Press.