FilmmakerIQ.com: How Antonioni and Bergman utilized Aspect Ratios

FilmmakerIQ.com

How Antonioni and Bergman utilized Aspect Ratios Jul 14th 2013, 21:00, by John P. Hess After watching our lesson “The Changing Shape of Cinema” on aspect ratio, Tyler Lavoie visits Michelangelo Antonioni’s L’avventura and Ingmar Bergman’s Winter Light to see how both directors use aspect ratio as a visual queue in how the characters onscreen relate to one and another. Pacific Rim probably wouldn’t fare well in “Academy 1.37″, and Citizen Kane: IMAX Edition  might have been too boggling an experience for 1940s filmgoers. However, for movies with fuzzier genre specifications, different aspect ratios mean different ways of using the screen. Recently, I’ve seen two films that rely heavily on aspect ratios. These are Michelangelo Antonioni’s L’avventura and Ingmar Bergman’s Winter Light. Though these movies differ greatly, they share an important device: noncommunication and framing. What is noncommunication? Well: not communication. In classic film, devices like two-shots or shot-reverse-shot editing allow characters to act, connect, and share information. This is so natural that it’s rarely noticed, and viewer thoughts about dialogue tend to concentrate on words and actions. This is communication. Tyler Lavoie | Read the Full Article

You are receiving this email because you subscribed to this feed at blogtrottr.com. If you no longer wish to receive these emails, you can unsubscribe from this feed, or manage all your subscriptions