Buckland-Warren-Puzzle-Films-Complex-Storytelling-Contemporary-Cinema

222 Eleftheria Thanouliin an expressive manner the spatial coordinates of the action. Both at thelevel of shot composition and editing, he experiments with techniques thatfrequently offer impossible views of the narrative events and allow the camerato take a life of its own. Instead of the classical staging in depth, thelinear perspective, and the central positioning of the characters in the frame,he opts for overhead shots, slanted angles, fish-eye lens distortions,extreme long shots, and extreme close-ups. In Figure 11.1 the overhead viewof Oh Dae-Su’s release on the rooftop is immediately followed (Figure 11.2)by the extreme close-up of his eye reacting to the daylight. This type offraming and editing in some cases becomes particularly demanding, as theviewer is required to adjust swiftly to the changes in distance and perspective,as shots come and go in a fairly fast tempo. On the other hand, the scenesthat are shot in longer takes rely exclusively on fluid camera movementsthat generate a floating experience of the narrative space. Thus, it seems thatPark follows the trend of several contemporary filmmakers who havemoved from the classical continuity to the intensified continuity thatFigure 11.1OldboyFigure 11.2Oldboy