At the start of this semester, I thought On the Frame would be more technical in a sense that, we get to play around the “framing” of the camera – that it was going to be a practical, hands-on class. However, as the subject semester progressed, and as we observe and unwrap different topics in class, it turned out to be more of a theory class rather than practical in a sense that, I got to learn about the theory behind the frame – the theory behind the movement in and within the frame itself. Daniel Binns has kept me interested into the subject and keep the elements of the frame at the back of my head through out the course, with the use of screening movies such as In the Mood for Love, L’Avventura, and Inception, and different course readings from various film theorists. By doing so, Daniel Binns has given me the opportunity to think about the frame beyond it’s technical aspect – beyond the framing of the shot.

This course has given me the necessary knowledge – both technical and theoretical skills, that will help me with my career path, and my future in the industry. Having said that, there are a few things that I have discovered that inspired me and made me say to myself: “Oh, so that’s how it’s done” or “Oh! That’s what’s happening.” These inspirations came from the ideas in the readings, and all the screenings that we’ve watched in class. Every-time we unpack a reading during lectures, there will always be something that sparks me up. It’s either a quote, or an idea from that particular reading. And when Daniel Binns unwrap a particular film, in all of it’s aspects and elements, I learn a thing or two about its aesthetics and thematic meanings. I learn about the director’s use of movement and colour, and why those particular types of shots were essential in telling the story. Overall, as a student and future filmmaker myself, On the Frame has sparked a fire inside me that will never die – a passion that makes me watch films and observe movies in different ways. Now, whenever I watch films, I can’t help but use all those things I’ve learnt in class to analyse every shot and every scene, find the relationship between each and every cut. Why did the director use this particular angle? Why did they use this colour? What was the point of using an over-head shot as oppose to a normal mid shot? All these questions are bursting through my mind everytime I watch a particular film – whether it’s a Wong Kar Wai masterpiece, or a shitty Michael Bay one.

As for my fellow students for next semester, if you get a chance, do consider this subject. It may seem boring at first, however it is not what you think it is at first glance. The subject will teach you about the history of the frame, how to plan each frame, considering all the aspects of the frame. While it may sound technical and hands-on, it relies more heavily on film theories as opposed to straight up hands-on work. You get to experiment on different aspects of the frame, which is one of the great things in the subject. You have the freedom to create different things using the frame. It’s worth a shot and you’ll definitely gained a lot of knowledge and pick up a few skills.