In this respect, the painter’s views ring against my anti-Vitruvian reading of Bazin’s film theory. 20 Categories. Thus, it is not surprising if a musical analogy informs Storaro’s cinematography. Unlike other manually or bodily produced media, including dance and music, the camera lens reduces a human being to an object or an Other on screen, and it is this sense of Otherness or mystery about who we really are, within a much larger and uncontrollable scheme of things ranging from galaxies to constellations, but also in history and in daily life, that we can glimpse only through filmmaking. The cinematographer’s awareness that film’s fundamental topic is change within life, as such, emerges from one incisive statement:As a result of this profound difference between digital and analog, one can begin to see that Bazin’s project is not about nature as a static state of affairs, but nature as the material conditions of a nonhuman kind of image development. Visions of Light.
This leveling eye reduces everything, live or dead, real or fake, to mere object-hood. In bars, in cars, sidewalks, stores, everywhere. Its a film that most Allen fans dont rate very highly, but I just love it. 6. Jun 5, 2019. Citizen Kane, The Conformist, and Gordon Willis get special attention. Put differently, light is the force which energises the film at its most basic level.
Well aware of coming from the country of opera, Storaro envisions cinematography as a sort of music in reverse, in the sense that he uses changes in light as an abstract force to develop an invisible, emotional infrastructure for the images. It is well-known that the digital is different from the analog because the first is based on man-made pixels or numerical configurations, whereas the second has to do with the tracing power of non-human light on objects in photography.
In fact, in the film, Caravaggio specifies that he prefers Leonardo to Michelangelo and Raphael. Yet movement is another way of saying rhythm. In addition, by relying on the computer and on interactivity, the digital is much closer to painting than to photography, in the sense that it points back to the human hand.Furthermore, Storaro transforms Caravaggio into a cinematographer:Whereas Caravaggio believes painting is superior to all the other arts, Bazin feels that the canvas is about vanity in the sense of manual dexterity, and prefers the theater because, in this medium, bodies and objects exist in real time and real space. For Caravaggio, bodies and flowers are always temporary phenomena; hence he transforms them into images about the passing of time, or into phenomena of light and blood.More specifically, Storaro’s attention to the quality and speed of film stock, along with the materiality of real and fictional locations, resonates with the documentary ethos of neorealist cinema at large. Storaro remarks: Perhaps he would eventually agree, and such an answer is in a statement I found in an interview with Ric Gentry. Analysis of her visions is problematic since the main source of information on this topic is the condemnation trial transcript in which she defied customary courtroom procedure about a witness’ oath and specifically refused to answer every question about her visions. The narration takes us through the identifiable studio styles of the 30s, the emergence of noir, the New York look, and the impact of Europeans.
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