By David Bordwell
A movie tells its tale not just via discussion and actors' performances but in addition during the director's regulate of flow and shot layout. "Figures Traced in mild "is a close attention of the way cinematic staging contains the tale, expresses emotion, and beguiles the viewers via pictorial composition. Ranging over the complete heritage of cinema, David Bordwell makes a speciality of 4 filmmakers' certain contributions to the strategy. In-depth chapters research Louis Feuillade, grasp of the 1910s serial; Kenji Mizoguchi, the good eastern director who labored from the Twenties to the Nineteen Fifties; Theo Angelopoulos, who all started his occupation as a political modernist within the overdue Nineteen Sixties; and Hou Hsiao-hsien, the Taiwanese filmmaker who within the Eighties turned the preeminent Asian director. For comparability, Bordwell attracts on motion pictures through Howard Hawks, Michelangelo Antonioni, Yasujiro Ozu, Takeshi Kitano, and lots of different administrators. beautifully illustrated with greater than 500 body enlargements and sixteen colour illustrations, "Figures Traced in mild "situates its shut research of version sequences within the context of the technological, commercial, and cultural tendencies that formed the directors' methods to staging.
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Extra info for Figures Traced in Light: On Cinematic Staging
The scene relies on singles: two-thirds of the shots show only one of the three characters . In addition, the long lenses tend to tum even somewhat distant framings into singles (Fig. 53 ) . As a result, there are twenty-two waist-up or chest-up medium shots (for example, Fig. 48) . 26 S TA GIN G A N D S T Y L E Even more surprising, more than half of the scene's shots are close -ups of Jerry, Dorothy, or Ray. The medium shot, once the workhorse of studio filmmaking, has been replaced by various degrees of close framings .
Depth compositions can be found in short shots or long takes, distant framings or medium shots (as in The Virgin Stripped Bare . . ) or even close framings (Fig. 28) . Rohmer claims that if actors aren't on two or more planes, "there is no real mise en scene, no deeper mean ing,"29 but we should acknowledge the artistic resources of lateral staging, even if it dis plays minimal depth ( Fig. 29 ) . Further, our impression of depth is built out of many spatial features, and these can vary independently, creating significantly different patterns of staging.
The father looks at the uncle, who turns in a three - quarter view like that of an "over-the-shoulder" shot in conventional editing (Fig. 40) . The uncle, dis missing the boy's naivete with a wave of his hand, rotates fully away from us, and again the daughter is blocked (Fig. 41) The father rises and kisses his daughter (Fig. 42) , . STAG I N G A N D STY L E 19 The Revolutionary. 38 The Revolutionary. i . 3 g The Revolutionary. 1 -40 The Revolutionary. The Revolutionary. 1 -42 The Revolutionary.