Cinematography-Theory-And-Practice

Figure 1.6. Strong visual elementstell us a great deal of the situation ofthe character in the opening frameof Punch Drunk Love.THE [CONCEPTUAL] TOOLS OF CINEMATOGRAPHYWhat we’re talking about here is not the physical tools of filmmaking:the camera, dolly, the lights, cranes and camera mounts, we aretalking about the conceptual tools of the trade.So what are they? What are the conceptual tools of visual storytellingthat we employ in all forms of visual storytelling? There aremany, but we can roughly classify them into some general categories.The FrameSelecting the frame is the fundamental act of filmmaking; as filmmakerswe must direct the audience’s attention: “look here, nowlook at this, now over here...” Choosing the frame is a matter of conveyingthe story, but it is also a question of composition, rhythm,and perspective.Take this opening frame from Punch Drunk Love (Figure 1.6). Itgives us a great deal of information about the situation and the maincharacter. Instantly, we know he is isolated, cut off from most ofthe world. The wide and distant shot emphasizes his isolation andloneliness reinforced by the color scheme and the lack of wall decoration.The dull shapeless overhead fluorescent lighting underscoresthe mood and tone of the scene. Finally, the negative space on theright not only plays into the isolation and loneliness but into the possibilityof something about to happen.The strong lines of perspective, both horizontal and vertical, convergeon him, “pinning” him in his hunched-over position. Withouta word being said, we know a great deal about this person, his world,and social situation, all of which are fundamental to the story.This frame from a beach scene in Angel Heart (Figure 1.7) also communicatesa great deal: something is odd, out-of-balance. In unconventionalframing, most of the frame is sky: negative space, webarely see the beach at all. One man is bundled in a coat, the other incinematography4