Using the Camera for Interpretation

As someone who has studied perception, I was pleased to see Douglass and Harden mention visual cues and their importance to composing and filming scenes (160).  Monocular cues are the most heavily relied on for optical illusions. Thus, if a director understands how to manipulate monocular cues like depth through techniques like angled shooting, it can save a great deal of trouble in having to add special effects. Moreover, it can mean the difference between a believable scene and one that is disorienting and confusing for a viewer.

  

I saw the Oscar Nominated Live Action Shorts* this weekend. They all have pristine cinematography, but the one that I found particularly resonant was “Avant que de tout perdre” (“Just Before Losing Everything”). The film does a beautiful job of showing almost all of the techniques described in Using the Camera for Interpretation. There is minimal dialogue in the film. Practically nothing is overtly stated; that which is said relays the theme subtly, indirectly (a fitting reflection of that theme). The true theme of the film is largely conveyed through its cinematography. The film uses framing and varying focal lengths to show to compose shots which maintain suspense, highlight an important detail, or reflect the mood and theme of the piece. There is plentiful use of close-up and, occasionally, extreme close-up. These shots say more to a viewer than any amount of spoken narrative could. There is quite a bit of camera movement throughout the half hour piece. The movement helps keep the viewer focused on the main characters at all times; there is no time for distraction. At points the camera movement seems rushed and shaky. However, it is appropriate given the subject matter and mood of the film.

The clip below is a short example of the array of cinematic techniques that are used throughout the film.

*I would highly recommend going to see them if you haven't! They are playing at The Little Theatre.