Sam’s World
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10748453
Damien Magee
‘Framing’
In his commentary on legendary film theorist Andre Brazin, Cardullo writes that if editing is ‘the alpha of cinematic language, the omega (is) framing’ (Cardullo, 2000). Framing and composition’s relationship to the elements of mise en scene, French for ‘everything within the frame’, is integral- it is the ‘plastic artifice’ (Cardullo, 2000) within which all the other elements are arranged. The following discussion will dissect the ways in which framing’s role can be one that is both practically functional to the communication of information- through emphasis, inclusion, exclusion etc, and at the same time can be used to create metaphor and add layers to the image and script.
The Western is a genre ‘whose signature framing is the long shot showing the landscape stretching toward the horizon’ (Cardullo, 2000). The Westerns created by John Ford, such as Stagecoach (1939) and The Searchers (1956) utilise ‘gorgeous landscape shots’ (Rosenbaum, 2004)- in these films the landscapes seem rich with mystery and intrigue, and, when coupled with a figure (more often that not, John Wayne) they are an overwhelming reminder of the lonely struggle of man against nature, as a reflection of himself. Especially in Ford’s films after the mid-50s, he uses Cinemascope to achieve almost infinitely wide, panoramic long shots create images that are truly, movingly desolate and beautiful- the framing is key to this, to replace one of these long shots with a close up or a mid, or to frame the protagonist more prominently in the image, would create an image with almost none of the power that Ford commands.
Here, the workman character’s loneliness is emphasized by the relatively small amount of space taken up by his figure within the frame. The imposing, flat landscape stretches off into the horizon and consumes the figure in the frame. The top half of the composition is entirely filled by the sky, emphasizing the power and strength that the landscape and nature holds over the figure.
In response to questions about the prevalence of detailed frames and slow, steady cuts in his 2007 film ‘Control’, director Anton Corbijn states ‘I like looking at a picture, not being guided by an editor’ (Crossley-Marra, 2007). This seems to suggest that Corbijn places emphasis on establishing a frame to tell the story, rather than rely on constant quick cuts and single changes to guide the eye. This focus on composition creates some of the most startlingly intimate shots in cinema today. Among them are an extreme use of perspective in a close up on actor Sam Riley as Ian Curtis experiencing an epileptic fit, lying on the floor- his head, closest to the camera, taking up most of the space in the frame as it jerks spasmodically. This frame distorts and contorts the body, telling through framing alone something which would more often be communicated through quick cuts and lighting- the experience of losing control of one’s body to illness.
Here, the framing tells much of story that could otherwise be communicated by a series of shots, dialogue or narration. Whilst the graying man (either the husband or father of the woman) is in the foreground of the picture, the focus and central framing of the embracing couple emphasizes their affair, and the way it is clearly being conducted ‘behind the man’s back’. This simplistic, one-frame style of story telling is evidence of Cardullo’s statement that “It is true that framing alone can often create within the image a kind of virtual editing”.
Visionary director Terry Gilliam’s use of junk-deco sets, frightening and bizarre imagery, and witty scripts would lose much of their meaning were it not for the way in which he expertly arranges these elements within the frame. As discussed by Fred Glass in his 1986 review, much of the power of the film ‘Brazil’ is in the way the fetishistic technology often consumes the frame (1986 p23). In a shot of character Sam Lowry waking up, his head in the frame is pushed to the top left-hand corner, the rest of the frame filled with alarm clocks, switchboards and a vertiable cornucopia of obscure mechanical devices.
Here, the fact that the workman character is trapped is emphasized by the way in which the Transformer robots not only surround him physically, but also surround the corners and edges of the frame. As the frame is the audience’s visual and emotional entry point into the film (Bazin, 1967), the surrounding of the frame empathetically communicates the feeling of being trapped to the audience.
Framing and composition are the stage upon which the other elements of mise en scene are at play. However, more than this, framing directs, emphasizes, gives meaning to and tells the story as a language in its own right. Framing becomes almost a discourse for meaning within a film.
References
Bazin, A. 1967-71. What is cinema? Vol. 1 & 2 (Hugh Gray, Trans., Ed.). Berkeley: University of California Press, California.
Cardullo, R. ”Andre Bazin on Film Technique: Two Seminal Essays.” Film Criticism 25.2 Winter 2000: 40. Expanded Academic ASAP. Gale. University of Technology Sydney. 1 Nov. 2008
<http://find.galegroup.com.ezproxy.lib.uts.edu.au/itx/start.do?prodId=EAIM>.
Crossley-Marra, B. 2007. ‘NYFF Interview: Anton Corbijn’. New York. Viewed 31 Oct. 2008 <http://www.ioncinema.com/news.php?nid=2214>
Glass, F. 1986. Film Quarterly Vol 40, US. Viewed 1 Nov. 2008.
< http://caliber.ucpress.net/loi/fq?open=1980s>
Rosenbaum, J. 2004. ‘Ten Under-appreciated John Ford Films’, Chicago, viewed 1 Nov. 2008 <http://www.dvdbeaver.com/film/articles/ten_underappreciated_john_ford_films.htm>
7 years ago today…
All my problems are nothing compared to what thousands of people experienced on this day 7 years ago…
God bless our heroes.
Who am I?
I was born 17 February 1963. In my second year at college, I tried out for the varsity basketball team. I was deemed too short to play.
Believe it or not, I am Michael Jordan
Spring is in the air
If at first you don’t succeed, dust yourself off and try again
Aliyah (RIP)
New life, new beginnings. That’s what spring’s all about. And love.
This month is the big one. I know things haven’t been looking too great, but flip the coin and what do you get? Sarah, the triplets (who I have for this weekend, bless)… with this support base how can I possibly fail?
And if I do, I can just learn for my mistakes.
Love, Sam
There’s nothing to worry about…
I have to sign on this week.
It’s just a temporary thing, till my new program kicks off.
I’m a little worried about what this means for the 22nd, though- but worry gets you nowhere.
Sarah’s been wonderful about it all. The triplets are with Kath at the moment, I miss them more than ever.
Keep smiling, Sam-fans 
When it’s all too much…
I like to do this sometimes to get some perspective, sure things like bridges and buildings and cities can seem so big and scary, but not from where I’m standing!
Two Beautiful Blondes :)
Sarah and Justine
Just thought you might like to see a photo of Sarah, with Jus- I’m so glad that they seem to get along really well
What a finish!
Isn’t the olympics a wonderful expression of humanity’s will and ability to triumph over adversity?
I’ve been watching everything closely and I find it really helps with problems in my own life.
Of which, unfortunately, there are quite a few.
Ompyx have declined my offer of a follow up to the other week’s workshop. They say there were scheduling issues and they didn’t really see it as necessary. The success of that workshop has been largely overlooked and has failed to generate the bus and heat I would have liked, too, so I’m currently without any projects. This doesn’t do wonders for child support- the tribunal to reassess the option of my custody of the triplets is next month.
But if Usain can do 9.72 after a false start- I can get through this.
