As a verbal communication, cinematography has grammar and language rules. However, its evolving comprises many ways and faster with less restrictions as opposed to conventional language (14). Cinematography consist two films including those which use the theaters means and use the camera in order to produce as well as those which use the cinematographer’s means and camera in order to create. A plea to the eye only makes the ear impatient and vice versa. The two inpatients act to demonstrate how the cinematographer’s strength applies adjustably to two senses namely hearing and seeing. There exists no absolute value to an image: but sound and image owe their value and their power only to the use one puts them to as is evidenced in the asphalt jungle scene. (18). For the past five decades the rules governing conventions have developed and yet its rules continue to be broken. Cinematography requires consideration of various details and can be distilled into a few simple standards. In essence, cinematography entails communicating on both aware and non-aware levels of audience. Cinematography has six components whose skills and understanding has no limit, and so cinematography is a lifetime pursuit as demonstrated in asphalt jungle scene (Bazin et.al 34). The components include camera placement, movement, lighting, selection of lens and exposure. Each element interrelates with one another as one decision of one component affects the decisions regarding the other components (Bazin et.al 45).
This has been demonstrated in the Asphalt Jungle scene using mise-en scene. The possibilities are endless. Where one decides to place the camera is fundamental and an important decision that requires to be made. Camera placements affects lens selection, lighting, composition as well as blocking. It determines the whether the audience feels involved or isolated in the action and whether they feel like participants or not (54). The subconscious psychological response of the audience to camera position is a powerful requirement. With each new camera position, regardless of whether the camera is stationary or moving, one needs to consider the intention of the shot as designed to fit into the wall-hanging of the finished film (56). In the film Mise-en scene is used to achieve realism, giving settings an authentic look by allowing actors perform naturally. The important contemplation when selecting lens includes the width of the angle that the camera views. Wider lenses give a broad view and longer lenses give a narrower field of view. This relates to camera placement and together they determine the size of the image (Bazin et.al 123). However, changing the lens does not give same effects as does changing the camera’s position. Light also plays an important role on legends of every culture on film industry. When lighting, as in all other aspects of cinematography, one need to consider the content of the material, the rhythm, the subtext as well as the theme (127). No single shot exist on itself, but rather all the images in a film exist in sequence, relying on one another. It is therefore the responsibility of cinematographer to consider the context within the film as well as the individual shot. One uses light and shadow to give meaning, reveal texture, build depth, create mood and to affect the audience on subliminal levels. When lighting the most fundamental tools are the