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The course in Basic Graphic Design strengthens a

thorough understanding of the fundamentals of

Graphic Design as seen from the discussion above.

They are instrumental in enabling the students to

comprehend other advanced courses and take up

complex projects in the sixth and seventh semesters

of the discipline.

ReferencesFrutiger, Adrian. Signs and Symbols: Their Design and Meaning.

New York: Watson-Guptill Publications, 1998.

Garrett, Lillian. Visual Design: A Problem-Solving Approach. New

York: Reinhold, 1967.

Gatta, Kevin, Gusty Lang, and Marilyn Lyons. Foundations of

Graphic Design. Massachusetts: Davis Publications, 1991.

Gatto, Joseph A., Albert W. Porter, and Jack Selleck. Exploring

Visual Design: The Elements and Principles. Massachusetts: Davis

Publications, 1999.

Hofmann, Armin. Graphic Design Manual: Principles and Practice.

New York: Van Nostrand Reinhold Company, 1977.

Mulvey, Frank. Graphic Perception of Space. West Sussex:

Littlehampton Book Services Ltd., 1969.

Rand, Paul. Designer’s Art. New Haven: Yale University Press, 2000.

CINEMA AND DESIGN

S.B. SAKSENA

S.B. Saksena is a

faculty in the Film and

Video Communication

discipline at the National

Institute of Design,

Ahmedabad. He takes

both, postgraduate and

undergraduate courses

in areas such as Film Theory, Cinematography, Elements

of Video, and Elements of Lighting and Production

Design. He has been teaching at the institute since the

past twenty-four years.

Images and Communication

The world around us is full of images that convey a

variety of visual messages. Nature also communicates

through colour and form, changes in chronological

time, as well as those in the weather. The basic

purpose of any visual to is to inform, educate, and

persuade.

Images appeal to our emotions and they also leave

a lasting impression on our minds. The impact of

certain images may stay in our memories for a long

time, some may last for a lifetime; whereas, others

may completely fade away from our memory. The

memories of those images that remain with us can

often find their manifestation through creative

forms of communication. As years continue to pass,

an image becomes capable of creating a language

of its own and can be redefined through video, film,

or photography. A beautiful rendering can also

create the impression one has in mind. The more one

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knows, the more one observes. A particular culture

assigns meaning to each shape and form.

Learning from the environment and observing

the same are extremely crucial to understand the

techniques one employs in order to observe aspects

such as colour, form, texture, and lights in nature.

Such techniques can include rendering or shooting

with a still camera. An individual can create images

based on his/her observations, or recreate reality in

order to draw a particular conclusion.

Still Photography can remarkably recreate and

capture an event or a place and give it certain

emotional value. An in depth study of Still Photography

increases our skill of observing things in the right

perspective, adding educational value to the things

observed, and creating definite visual perception.

It becomes possible to draw conclusions from the

subjects observed and create a language through

which such conclusions can be creatively expressed.

Focused research and detailed analysis of a chosen

space is required so that we can come up with certain

inputs that can be communicated clearly.

Images have the tendency of developing a visual

culture of their times. Visual culture embodies copious

information that can be communicated through

several media. Visual culture is constantly changing

and evolving.

Several theories about visual perception already

exist. Some fundamental theories of communication

should be incorporated in order to create a basic

understanding of the subject that is being observed.

Imposing and meaningful imagery can be created

with use of both words and images. By attentively

listening to sounds and observing images and forms

we can understand how they communicate ideas. In

the process, we must also concentrate on the ‘empty

spaces’ that lie in between and such spaces should

be explored in great detail. Understanding feelings

and expressing them in words is also very important.

Ideas and feelings can be expressed in a variety of

methods.

When one is interested to communicate via the

audio visual form that is through video and film,

there are several parameters that one must keep

in mind. One must understand the spaces, feelings,

and movements in order to connect them and form a

story or idea. A balanced combination of these three

aspects can deliver the clear concept of the idea to

anyone who is looking for a message. Communication

of an idea must be done through the proper structure.

Various narrative techniques and other existing styles

can be used to communicate the idea.

Storytelling in the visual form can be structured

in many ways. The visual form of any story can be

arranged in time. Even a still photograph represents

a moment. It gives information about the period and

various characters shown in it. In cinematic form,

the story can be told in a certain manner and time

can be manipulated. Images in our memory also

tend to acquire different shapes with time. That

is the reason why we can create stories about the

same incident in different ways. Same images can

also create a different story if their order is changed.

A lot of communication can happen through images,

and an effort must be made to skillfully channelise

this communication through various media.

Basic Design Structure

The basic or fundamental aspect of any programme

is its structure and the technique through which the

programme is made. The basic method of structure

building is to break the story line into bits of time

and space. These bits form the units for further

development of cinema and its spaces. The joining

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of these spaces is called filmic space. The methods of

joining can develop a scene. Scenes are fundamental

to any film. These methods have a definite design

structure. This building of structure can draw parallels

from literature, and various storytelling methods can

be adopted to communicate, inform, or entertain. This

beautiful putting of bits is also a reflection of visual

power as it drives emotion. Why does a particular

scene have an arresting impact, and why does another

scene not have one? How to create a scene? Why is

the thought process necessary? How can emotion

be added to a visual? Why do we relate to the overall

beauty of scene? Does a scene communicate? All

these are questions that have to be investigated

keeping in mind the principle of the design process.

What is a narrative space? A narrative must advance

in a systemic manner to start communicating. It

should have chronological sequence of events which

make up the raw material of any story. The story

should also be organised in particular manner. A

narrative needs to move through space. It must also

involve time. The story must take place in a specific

time frame.

Research into Events

In any design process, an event or situation has to be

thoroughly researched into. Methodical collection of

data is essential to construct a good story. The data

may vary in various ways and can produce different

outputs. The research for any event should cover all

aspects of any given situation or environment. It must

include a detailed study of its culture, its spaces and

its people. The best way to carry out research is to be

in the same environment in which the character is

going to be placed. Several interesting aspects can be

discovered through this process and all this will help

in further development of the character. A detailed

questionnaire can be a genuine tool for conducting

organised research. Research helps in constructing a

better structure. Following are points that should be

taken into consideration while carrying out research

for a script:

l Know what you want your audience to feel

l Choose your audience carefully

l Know what audience you are writing for

l Word your questions neutrally

l Translate the answers

l Listen selectively

l Listen critically

l Recognise the difference between objective

observation and subjective preference.

l Ask who

l Ask where

l Keep looking for your ideal viewer.

Understanding Narrative

Plays have organised arrangements.

The characteristics of plays are such that making

connections among facts presented in them becomes

absolutely necessary for understanding the sequence

and patterns invariably found in them.

These connections are called implications and

inferences. Implications are indications, hints, or

suggestions that are deliberately though not openly

stated. Inferences are deductions of hitherto unknown

aspects from information that is already known.

Every plot can be divided into:

l Basic nature

l Plot character

l Idea

l Dialogue

l Tempo-rhythm-mood (Aristotle’s music)

l Production values (scene costumes, lighting)

Exposition: Every dramatic story has a past before the

actual story unfolds and it is impossible to present

this entire past through cinema. Therefore, the

playwright/director uses a special kind of narration

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as literary shortcut to reveal the past at the same

time when the stage actions are going on. Exposition

is the standard term for these dramatic conventions.

Expositions are useful for revealing hidden parts

of plays. The technique used for exposition is the

historical technique that gives information about

incidents that have happened in the past. As per the

modern technique is the incidents of the past are

narrated through a character played by a particular

actor.

Identification: A background story can be narrated

in several ways on stage. Identification shows how a

character relates to his/her environment.

Event: An event is simply something that happened

to a character in the past, especially something

momentous. Past events are always important in a play

because they provide content for on stage conflicts.

Character Descriptions: Recalling the event of the past

naturally leads to a consideration of the characters

involved in them. Character description in the

background story often reveals as much about the

speaker as they do about person/s being remembered.

Feeling: The characters reveal their past and current

feeling about their past in various ways. Feelings

expressed in the background story are also valuable

resources for understanding the character.

Plot: A plot is an organised scheme. It basically explains

the structure of the story.

Physical action: The first responsibility of the plot is

to provide the physical action needed to carry out the

story practically, creating role entrances and exits for

various characters.

Blocking of the scene: This refers to the points of

focus in a particular scene. It also refers to the use of

surroundings in which the character will be working.

Psychological actions: Psychological actions are

expressed openly through dialogues and they are

connected with the mental, spiritual, or emotional

lives of the characters. It is normally in three forms—

assertions, plans, and commands. Physical and

psychological actions are important in understanding

a plot.

Assertions: An assertion is simply a plain statement

of fact, a positive declaration that something is true.

As a rule, assertions identify people, places, things,

or events. When assertions involve serious offences,

they can spiral into accusations.

Plans: A plan is any detailed method formed before

doing something. Plans are practical and economical

methods for advancing the plot. Some plans have

a larger scope and confirm whole new directions

for the characters’ actions. Initially, the characters

discuss the tactical details then they put them into

effect.

Commands: A command is a statement with a built

in feeling of urgent necessary actions. A particular

action must be done. The commands push the play

ahead with events that the character must carry out.

Designing a Style with Relation to Narration

The element of style has to be created dramatically

in cinema. Some of methods to create style include:

l Intensify the dramatic equation

l Convey the hero’s value

l Enhance emotional bond with hero

l Emphasise the match up of hero and obstacle course

l Establish the difficulty faced by the central

character

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l Intensify the antagonist’s strength and power

l Separate the hero and the world

l Convey a consistent tone

l Create layers of units all through the story line

Screenplay and Design

Human life is replete with situations and experiences.

A particular real life situation may hold out the

dramatic possibility of creating a new story. This story

can be organised in certain forms. This story can be

expressed in words. It may be similar to the actual

event or it could be an imaginative visualisation of

the event.

The power of change: Change is a powerful element

because it is the essential dynamic of life itself. The

human body, seasons, life situations, relationships,

feelings, locations, and technology—everything is

subject to change. For human beings, it is essential

that they learn to cope with change. Though change

is universal and constant, people often resist it

because they fear the unknown. Thus, the tension

between the need for change and fear of it can

be a fascinating aspect from which stories can be

created. In cinema, the story is told with a beginning,

a middle, and an end. All the three have their own

requirement of spaces and character.

Momentum in the story: It is this aspect that makes

the audience emotional. It is also the element

through which the film moves logically towards its

completion. It also makes the audience excited about

what is going to happen next.

The primary function of momentum is to fulfill the

audience’s emotional need for completion.

Momentum can be created by:

l Deciding the direction of the story

l Setting up only what is necessary (The more

conspicuously something is set up, the bigger will

be the pay off.)

l Not asking questions until the audience asks them

l Revealing information gradually rather than

explaining everything at once

The plot primarily involves selection and arrangement

of pertinent information chosen to create a dramatic

impact. The main function of the plot is to examine

the process of conflict resolution. Dramatic effect can

be increased through the following methods:

l Increasing dramatic stakes

l Increasing jeopardy

l Increasing obstacle

l Increasing desperation

l Increasing unpredictability

l Increasing likehood of change

l Increasing revelation

Formation of Subplots: Subplots are an essential part

of a story. They should help explain or illuminate

factors that affect the main story line. It also helps in

exploring the motives, feelings, and decisions of key

characters.

The entire story must have a structure. This structure

can be built by thinking and visualising each part

and then putting them together. The screenplay is

like a system. It comprises aspects that are related

and unified by action, character, and dramatic

premise. A screenplay must be logically constructed.

The screenplay is made up of endings, beginnings,

plot points, shots and effects, and scenes and

sequences. All these aspects, unified by dramatic

thrust of character and story elements are arranged

in a particular way and then visually represented to

create the screenplay.

The most crucial elements of a story include:

Premise: This is the concept or central idea. A premise

is usually presented in terms of conflict.

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The role of conflict: Some classical conflict situations

such as humans against humans, humans against

environment, and individual against himself/herself

are powerful situations that help in the development

of a story.

Character: It is through the main character that the

audience primarily experiences the story.

Dialogue: Dialogue plays an important role in the

creation of character credibility.

Atmosphere: It is accumulation of details that creates

the illusion of a single coherent world as stage.

Action line: The action line is frequently referred to as

the story line or major line as opposed to background

story or secondary story line.

Rising actions: Rising actions from the beginning of

the story to its end imply that the level of conflict

that confronts the major character increases as we

move through the story on screen.

Subtext: A subtext is the background story or the

interior struggle of the main character who has to

choose the most appropriate solution to his/her

interior conflict.

Discovery: It is the element of surprise in a screenplay

whether it refers to plot or character. This device can

be used to maintain the interest of the audience.

Reversal: A twist in the plot manifests itself as a

reversal of fortune for the main character. This setback

creates tension and concern for the fate of character.

Turning point: Sometimes referred to as plot points,

they create surprise, anticipation, and tension in the

audience and help maintain interest in the screenplay.

Three-act Skeleton structure: These acts must build

progressively so that there is further scope of growth.

A 120 page feature is divided into three acts. The

first act is roughly 30 pages long, the second act

consists of 60 pages, and third act of 30 pages. Each

act rises to the point of crisis or greatest intensity,

which is called the act curtain scene. It may also

happen that the plot point throws the story into the

following act. The plot point hooks into action and

spins the story around in another direction. The first

act is concerned with setup, the second act with

confrontation and the third act with resolution.

There is a period of relaxation at the start of each act

before the act begins to build. Each succeeding act

presents greater intensity than the preceding one.

Focus: The structure of an act demands focus. It is

said that each dramatic scene must do four things—

it should develop character, provide texture, cause

us to laugh or cry, and it should move the plot.

The plot must align with the action of the character.

There should be a logical connection between all the

scenes of a film.

The Scene: A Study

Scene development is a very closed and integrated

activity. Firstly, it is essential to establish the purpose

of the scene. It should be rooted in time and place.

Such elements or components should be included

within the scene in order to build it and make it work.

Constant anxiety and excitement, and tension and

thrill cannot be included in every scene of the film.

Most of the times, the story develops slowly and

gradually reveals its contents. As the story goes on

revealing its contents, it also tells the space and

environment in which the story is going to unfold.

In some stories, the film starts with a scene in which

there may be lot of tension and anxiety. This tension

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may be created with movement of camera, the

camera angle, character movement, dialogue, sound

effect, music, or cutting rhythm of the shots. But

most of the films start with a slow establishing shot

that is depicted in a very organised manner. The shot

cuttings are slow, organised, and in good form, thus

creating a story that gives all possible information

about the environment in which it has been set. Due

to parallel scene creation for establishing an event,

it may happen that things that may or may not be

related to are shown together. This aspect ultimately

reveals the true motive of the story. Usually, all

shots are connected and the scenes reveal a sense of

coherence. At times, unrelated shots are planned in

order to show what is going on in the actor’s mind.

Sometimes a scene is created with fragmented

shots, but one has to find the real motive behind

such a scene structure. The design of the scene also

depends on tone, style, and specific narrative beats.

The key design components of narrative beats are:

Visualisation: Visualisation happens in terms of

shots. Sometimes, visualisation helps in dividing the

shots keeping in mind geography of the location and

character action.

Identifying the fulcrum: This refers to identifying the

most important beats in the film.

To identify dramatic blocks: This factor will

enormously help in organising our narrative beat into

coherent patterns of action. Familiarity with dramatic

blocks is immensely helpful when working with actors.

The following aspects must be incorporated into

every film:

l Every scene must have clearly defined story pillar

or a specific or particular segment.

l No story pillar can be neutral

l Every story pillar should contribute to dramatic

equations

l Every scene should address four audience needs:

new information, bonding, conflict resolution, and

completion

l Keep exposition to the minimum

l The transition between scenes is important

Time is a very crucial factor for development of a scene.

By varying the time of action, many emotions can be

incorporated within the film. Camera techniques such

as slow motion and fast motion can be employed to

generate emotional responses in the audience. Scene

creation is designed with relation to time.

Camera and Visual Design

After proper visualisation, images are arranged to

communicate certain ideas.

The image in front of the camera is arranged with

creative manipulation. This redesigning of spaces

is created with help of optics. The lenses give

perspective and depth to create a proper compositing

and this used effectively for creating a powerful

communicative space. It gives multiple perspective

or viewpoints without disrupting the audience’s

involvement with the story. A seamless flow of images

is created. A director must understand all elements

of visual design and must ensure that whenever a

camera converts a three dimensional subject into a

two dimensional one, the imprint of the lens height,

camera tilt, distance from subject and lens angle are

present in the composition of the shot. If a director

does not make a conscious decision, then the subject

tends to become more mechanical in reproduction.

Choosing the correct lens, lens height, camera angle,

frame, and positioning of subject priorities are all

elements that have been

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The aim of a balanced composition is to integrate all

visual factors such as shape, colour, and location so

that no change seems possible. The image achieves

unity as a result of all its essential elements in the

shot such as grouping and organisation, balance,

figure and ground, shape line, curve, and pattern to

emphasise and draw the observer’s attention to main

subject in the shot.

The most important part of shooting is staging the

shot (Fig. 1 and Fig. 2). It refers to the initial setting

up of a shot where actors/the presenter position

themselves and movement is plotted. The best

way to get a precise composition is to understand

the background and then adjust the character/s

accordingly (Fig. 3). A good composition is the

organised arrangement of visual elements within

the frame.

Fig. 1: A video shooting in progress

Fig. 2: The team organising a shoot

Fig. 3: Explaining a shot

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Visual story telling brings out the element of design.

This is revealed in the choice of set design, costume,

make up, staging, lighting, and camera angles. The

staging can best be managed with choice of lens,

camera position, and the distance of the camera from

the subject. Experimentation with the depth of the

field can be done by changing the aperture, selection

of lens, and use of neutral density filter. The flow

or speed of the camera also is designed as per the

emotions or music associated with the shot.

Direction and Narrative

Most films will have a protagonist. Some rare films

will not have protagonist. In some films, a particular

social situation can become the protagonist as seen

in the case of documentaries. The circumstances in

the story design the characters. The structure of the

story can create a dynamic relationship between the

characters and their actions. It is this relationship

that provides for the desired dramatic effect. The

character helps in finding drama, and the film helps in

creating character as seen in an actor’s role in a film.

The tone of the film determines the way a director

makes a film. He/she may change the way a film looks

by changing the development of the character, which

in turn will ultimately change the actions. It will also

affect the cast, music, camera angles, and lighting

design. If one chooses to change the basic theme

or style, the film can either turn into a comedy or a

tragedy.

There are smaller goals that must be achieved before

the final goal of the theme is achieved. As we all know,

drama is told by the actions of actors. The actor creates

an activity, and it may or may not be continuous.

Narrative beats: The majority of narrative beats are

acting beats that are articulate and framed by the

director. They also refer to a significant escalation

of action or changes in its direction. Narrative beats

are articulated through staging or camera and

editing process.

A director should acknowledge this articulation.

The director who is using staging and camera either

separately or in combination, indicates to the

audience that something significant has happened.

Dramatic blocks: A dramatic block is like a paragraph

in prose. It contains one overriding dramatic idea after

another. It helps in acknowledging narrative change. It

gives the audience a sense of forward movement in the

story. The development of character is very important

such as his/her genetic inheritance, family influence,

socio economic condition, and life experience. All these

aspects must be reflected in the film.

Camera and Design

A film is a language used to tell stories and the

narrator of these stories is the camera. The five major

functions generally done with a camera are: cut to

another, change image size, put the camera in motion,

change the focal length of the lens, change speeds or

stop the motion altogether with freeze frame.

Main functions of the camera in cinema:

l Reveal: The camera reveals and introduces many

aspects of a film. It can surprise or create a new

character.

l Entrances: Entrance of a character into a film reveals

details about the character played by the actor.

l Objective camera: This is used to explain the

viewpoint from the third person narrative in a film.

l Subjective camera: This is used to explain the

viewpoint from the first person narrative in a film.

The use of a hand held camera can introduce stylistic

elements in a film, and such elements can attract the

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attention of the audience. The opening of few shots

can create a drama in the film.

l Style: Camera style is an integral part of design in

cinema. The placement of camera according to age

and movement sets the style of the film. Variations

in short cutting along with camera movements can

contribute to the stylistic value of any film.

A live converge can be created with two cameras and

this can infuse life into an event that is being captured.

Two major things that are very important is height of

the camera and angle of the camera. In many films,

low and high camera angles can create lot of drama.

Such angles are also used to portray a very important

point of view/event in the film.

Art Direction

No words are needed to explain that art direction

needs help of different kinds of designers who can

create a space that matches with the spirit of the

narrative. The basic job of any art director is to

enhance communication by visual means. The set,

by all means should be real and match with the

time in which the film is set. It has to be designed

with the right kind of furniture and ambience.

Conceptualising and preliminary sketching of the set

is always done by the art director. The art director

must have knowledge of history and a very good

understanding of colour, line, form, composition,

and perspective. Research into the time in which

the story is set and a detailed study of various kinds

of houses and interiors is an essential part of the

design process, and this can be helpful in creating

the right spaces perfect for shooting.

Editing Design

The primary aim of the editor is to design a visual

structure and selection of shots to communicate

to the audience the film maker’s motive and also to

hold its attention. The very first job of the editor is to

understand the style and story (Fig. 4). For that he/

she has to understand the selection of shots keeping

in mind following important criteria:

l What is the activity that dominates a shot?

l How does the size of the shot and camera angle

relate to previous and succeeding shots?

l What is the motivation for camera movement?

l How many visual dynamics does this shot have

and how is it going to help story telling?

An editor’s skill lies in joining the shots and creating

a scene in such a manner that the audience sees it

as a continuous process. A clear storytelling, running

time, and structure are the main factors of editing.

A fixed shot allows the person to concentrate on

a specific set of actors and places. Sometimes, in

the moving shot, the same shot can give different

information. The transitions between the shots

may create static or dynamic situations. At times,

the cut may be abrupt and it may be deliberately

done to create a different design. Sometimes, cuts

are very fast and this creates a speed in the story

and depicts fast events. Editing involves proper

selection and coordinating one shot with the next

in order to construct a sequence of shots that form

a coherent and logical narrative. There are known

rules that have evolved with time, and such rules

Fig. 4: At the editing desk

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are helpful in creating a flow of images that give a

visual journey. What to show and when to show as a

part of dramatic story narration is well planned for

audience information or curiosity.

Before the shooting starts, an editor needs to change

the angle, change the shot size, and regulate subject

movement and continuity. This helps in creating a

coherent stream of images. Shooting must be done

with an idea of editing.

The best editing is providing visual information in

a very ‘invisible’ way. There also exists unplanned

editing with many shots and disorganised editing as

seen in music videos,but that is for creating a new

style for certain sections.

Shots must be well arranged and done in such a

manner that no mismatch occurs, or else the shots

can distract the audience. Some techniques become

useful in reducing such mismatches. An individual

shot should have the same angle and same space. The

height of the lens is also a very important factor as

it affects the placement of the character. The other

aspects are continuity in lighting, props and setting,

and continuity in performance or presentation.

Structuring the Sequence in Editing

It very important for an editor to efficiently construct

a proper structure of the scenes. To connect the

structures, some standard methods are used and

these include: voiceover, atmosphere, music, or a

combination of all of them. While shooting, a variety

of shots should be taken so that wide choices are

available to the editor. The structure involves the

arrangement of unconnected shots into a stream of

small visual messages that combine into a coherent

whole.

There are various methods that can create a proper

style:

Matching a rhythm relationship between shots:

Shots that have been cut in a mechanical way can also

create rhythm. Each shot has a measurable time on the

screen. By designing the shot’s time, the attention to

the shot is controlled.

Matching special relationship between shots:

The editor can create a space which is not there

in the reality. The space is created with proper

arrangements of the shots.

There is another method of matching the shots and

it is called the temporal method.

The cutting of a shot according time gives the viewers

an idea about how the film will progress with relation

to time. Screen time is always manipulated to create a

new time. A linear and logical progression of the story

is not the only way to hold the viewers’ attention.

Often a puzzling situation is created so that audience’s

interest is maintained. Another method of editing is

called intercutting. This is a special method that can

create a type of sequence where two or more places

are covered continuously in order to create tension

or to give information. Sometimes, intercutting also

gives an idea of what a person is looking at.

Another type of creating a sequence is to work in a

special way. This technique involves breaking a space

into several parts. An example of this technique is

beginning with a long shot and establishing the

location, and later on taking close-up shorts to give

further details and more information.

Every shot is viewed, selected, and then knitted

together by the editor into a coherent structure that

explains the story and fits the designed running time.

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Clear storytelling, running time, and structure are the

main points.

Sound Design

All sound in our life has meaning and it can create

a specific atmosphere, and it is essential to know

how to create such an atmosphere in cinema. Mixing

sound in a very specific manner is called sound

design. There are three components of sound design:

dialogue, music, and effects. The dialogue must move

the story forward. It should reveal the character

and also introduce the relationship between the

characters played by each of the actors.

Music creates and supports the scene in a specific

manner because music can be designed to create

intensity and create a particular emotional effect.

Effects create the required atmosphere and add

certain value to the overall design of the scene. The

juxtaposition of shots, the context and how the

material creates new connections gives new meaning

to the scene.

To write a dialogue following things have to be kept

in mind:

l Characters should have distinctive voices

l One should know ones character what he/she

wants to say

l Keep character voices consistent

l Dialogue should be consistent with story style

l Dialogue should convey attitude

l Actions speaks louder than words

One should avoid long speeches. Audio style can be

built by using dialogue, sound effects, silence, volume,

frequency, and music.

To conclude, it can be said that all aspects of film

making and video production involve conscious design

activity and require well thought out strategies that

can successfully communicate ideas.

ReferencesField, Syd. The Screenwriter’s Workbook. New York: Bantam Dell,

2006.

Holman, Tomlinson. Sound for Film and Television. Massachusetts:

Focal Press-Elsevier, 2002.

Monaco, James. How to Read a Film: The World of Movies, Media,

and Multimedia: Language, History, Theory. New York: Oxford

University Press, 2000.

Nilsen, Vladimir. The Cinema as Graphic Art. New York: Hill and

Wang, 1960.

Reisz, Karel, and Gavin Millar. The Technique of Film Editing.

Oxford: Focal Press-Elsevier, 1953.

Walter, Richard. Screenwriting: The Art, Craft, and Business of Film

and Television Writing. New York: Plume-Penguin, 1988.