The utilization of extra-diegetic gaze is evident considerably throughout Deadpool (Tim Miller, 2016). The effect allows for the character to embed narrative, especially when relevant to the character directly, and also helps sustain the satirical basis throughout.
One of the Shinning’s main qualities is the use of camera work. In the Shinning there is a scene near the end where Jack is chasing Danny through the maze. The reason this scene is so effective is because of the fluid use of camera movement as Danny runs through the forest is very fluid and stiff creating a scene of dread from the fast-frantic pace. As well as the stiffness creating a sense of coldness which fits the scene since it takes place in a snowy environment. Another way the camera work is really good in this scene is a way it displays the characters placement in the scene with the use of dialog or statement. For example, the way the camera faces behind Danny while he is running away form it clearly displays to the audience that he’s being chased without any context or prior knowledge of the scene. As well the way the camera is more shaky and tilts slightly below Jack shows the audience the how he is a threat with the intimidating angle it creates.
The Chimney Sweep and The Miller
Back when this short film was made, their technology was limited. Due to this, the camera angles and distanced will be simple, and won’t change. This is because cameras weren’t portable back then, when a camera was built it would have been set up in a certain place and would stay there. That’s why this short film is all filmed using an eye level camera angle, because it’s level with the horizon and easier to set up. The camera distance is also the same, it’s set up as an extra-long short, in order to allow the actors room to move around and fight from one side of the screen to the other.
If this were to be filmed today, I feel like the camera angles would change. Instead of keeping the same Eye Level shot throughout, I would change it every couple second, perhaps using a canted camera angle to show that the miller is mad when he gets knocked by the Chimney Sweep. And then a Worms eye shot to show that one of the characters is more powerful than the other. As well as that, I would implement some camera movements, perhaps following the miller as he walks towards the chimney sweep, and then panning left to towards him. The camera distances would differ as well, going from a close to show the emotion of the characters, to a medium shot when the action is happening.
Birdman is most famous for the fact it is shown as one whole continuous long shot, although it is shown like this it isn’t all shot at once as there is some camera trickery, but even then it is a masterpiece because its the first of its kind. through the film there are lots of difficult long take shots, a lot of these scenes have many people doing complicated things and so the directer needed to be very organised so that everything ran smoothly without mistakes and people bumping into each other and messing up the scene, these shots most likely weren’t first try so it could become very frustrating for the actors and people working on the scene.
Cinematography In The Shining
The shining (1980) was based on a Steven King novel that was released in 1977. The film was directed by Stanley Kubrick who was an American film director, screenwriter, and producer. The film was visually amazing when released (and still is) because it had lots of new techniques and technology such as the Steadicam.
Stanley Kubrick is a perfectionist when it comes to mise-en-scene, The shining was a huge breakthrough in the film industry due to the first real use of Steadicam in cinema, the Steadicam was a device which meant you could film smoothly whilst moving. Having the camera free hand meant it wasn’t on another device like a track .
The use of the Steadicam creates a sense of unease for the viewer as it seems like we are following the characters around or someone else is. A perfect example for this is throughout the film (The shining) there are shots where the camera is following Danny on his cart through the corridors although this seems like a harmless idea, through the use of the Steadicam it makes it more sinister. This feature is important for the viewer as there are lots of corners in the corridors and we don’t know what is going to be around the next corner which creates suspense and adds to the horror.
Stanley Kubrick is also well known for his subtle use of symmetry, this subtle feature is aesthetically pleasing for the viewer and in the shining it symbolizes the connection between jack and the hotel, making them a pair. An example of this is where Jack first enters the hotel and one of the waiters Is stepping in sync to him and crosses a square shape on the floor at the exact same time as him, although this is a very subtle feature it explains a lot when you take it into consideration to the rest of the film and especially the photo at the end where we are shown that jack has been absorbed by the hotel. There is also a more obvious symmetry during the shots of the daughters which is very unsettling for the viewer because of the unreal perfection in the shot (2 identical twins standing next to each other perfectly in the middle of a corridor).
In the opening scene of Kill Bill (Tarantino, 2003) , we can see the use of diegetic gaze, which emphasizes the pain of the protagonist, which we can identify physically and emotively. In relation to the rest of the film, this allows the audience to understand the tribulation the character is willing to endure in order to get revenge.
An example of intra-deiegetic gaze is fully identified in Cloverfield (Matt Reeves, 2008), the movie is shot in perspective of a recording made by a victim of the events, and what he captures surrounding him. The effect on the audience this creates is a feeling of empathetic suspense, as the realistic filming style allows the audience to comprehend what it would be like for it to happen to them.
To an extent, Spike Lee’s opinion on the subject can be somewhat appreciated on the grounds that when making a film surrounding historical events, whether fictional or true, directors are solely producing presumption onto the screen, and therefore can be perceived as a misrepresenting form of content.
However, his ridicule on the misrepresentation on narratives seems contradictory in retrospect to the essence of a film, as films are fully subjective to opinion and do not represent the world we live in, in fact more times than not movies find themselves on the other side of the spectrum.
It is a controversial subject, and I can understand why Spike Lee would not be happy with the standing of the directors, however overall I believe that as film creators, we have to understand and appreciate narratives that allow us to see alternate and in some cases fictional perspectives.