In other words, the film is easy. Each print in every movie you have seen in the first experiment by Thomas Edison to the latest Hollywood blockbuster movie, is not possible without illuminating sunlight. The camera lens, a device for collecting light. So light and more abstract concept of time is what defines the art of cinema and sets them apart from other media such as music, literature and theater-like alignment with color. It is therefore important to pay attention to the choice of lighting in a particular movie and see how they show about the characters in this film, the story and artistic point of view in general. Look closer as the movie you see is what you get.
One of the greatest filmmakers of the cinema, a true sculptor of light, Sven Nykvist was. He has worked with directors as diverse as Woody Allen, Nora Ephron, Bob Fosse, Philip Kaufman, Louis Malle, Bob Rafelson, and Andrei Tarkovsky, but is primarily known for his collaborations with other Swede Ingmar Bergman. And maybe none of the projects together more in the eyes lit his extraordinary film 1966 Persona. This is a master class in the art of lighting for film, most of the photographs something sharp and specificity expresses the human condition. This story, a Elisabet (Liv Ullmann) actress who one day decides to stop talking, and the nurse Alma (Bibi Andersson), assigned to care for him, is so convincing was visually still observed with sound and subtitle out communicate both.
Nykvist, said in an interview:
"I rarely take the time to study the light. Is also important that the lines the actors speak, or defined. Actual part of the story, and that is why such coordination between the director is not required. Filmmaker and light is a treasure: once understood, can a new dimension in the meantime to bring. "
Individual features of this feeling, and everywhere, but also shows the variety of ways a filmmaker can illuminate a scene of constant resulting emotional impact. In one scene lighting is hard or soft, natural or ghostly, realistic or surreal; Lighting can come from the front or from behind, can fill a room, or simply highlight some corners. It is a visual tour de force, it is not surprising that the original script Bergman camera.
One of the most famous images of the person is at the beginning, tucked away in a very short time prologue to the story correctly. To use A boy talking with elusive great images of the two main characters in the film. This is an example of high-key lighting, which usually comes from three sources and minimizes shadows to create the same look. In this case, the child seems wise and innocent.
Instead, look great when reverse insertion Elizabeth stops talking, during a stage performance of Electra. It is dramatic foreground to eat pained expression on the screen, but his face is half in shadow, making it a mysterious quality. This technique, which means that there are two faces to the light and dark is a recurring theme in the whole film.
Sometimes the light can be adjusted and played during a recording for dramatic effect, as in this intense first Elisabet lying in his hospital bed level, the main source of growth is darkening up 'covers almost shadow.
Light can come from anywhere around the course and how the atmosphere of a scene is subtly altered. Here Elisabet watching violent television news segment in his hospital room and down lights, what are the aesthetic scene from a horror movie.
Priorities for lighting a sign to another can create an implicit drama and tell a lot about character. In this scene Elizabeth is in the shade, even if it is, while a psychologist is uniformly illuminated at the clinic in the background at the top of the shooting. Since the doctor speaks harshly to her, she accused intentionally touched by a patient, this light emphasizes the bad doctor cold and denial of Elizabeth.
In contrast, later, when Elizabeth and Alma went to the summer house on the island when the first recovered, Bergman and Nykvist often illuminate and Elizabeth are the visual focus of a scene. It is fascinating because, as a mute, which is always the listener, while Alma always babbling about. Our focus is on the subtle facial responses Elisabet used liabilities. In this scene there is a light source Elisabet diegetic, serves as a bedside lamp, make them the center of attention, while Bibi has its dramatic history.
In another of the most famous scenes of the film, Elisabet Alma space for what appears to be approaches in the early morning. This is an example of soft light, so diffuse that it looks like a dream; the background light source is so sweet, in fact, seems to materialize Elizabeth and again dissolve back into the light.
Of course, a good old splendor of the sunlight, the produce directly to the camera a wildly dramatic natural effect.
At one point we see profiles of women near silhouette. This is because the main light source here is the light of the hard floor, facing the camera.
This is a particularly flat first half in shadow, celebrities are calling Persona 's The level of this showdown between Alma and Elisabet from a series of amazing photographs of the faces of women around assembled, but spans the darkness.
Nykvist says that in person:
"One of the most difficult tasks for me was the light affected close-ups so amazing shade because it is very me in the light of important, so you can feel it behind the eyes of a character. Again my goal is to capture light in his eyes, because I think they are the mirror of the soul. The truth is in the eyes of the actor and very small changes in the expression can be more than a thousand words. "
Visit to see the Summer Film School Individual Hulu and learn more about light and color theory.
No comments:
Post a Comment