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composition of the filmed image Been moving into a unit on "formalism" with my students, which is where the course is really starting to get fun (for me at least). Tomorrow we do our day on "composition," and trying to select just a few images to work with (from the huge world of all films ever) was quite a challenge. Here are the ones I think I'm going with:   from Takashi Miike's Izo (2004) from David Lynch's The Straight Story (1999) from David Fincher's Se7en (1995) from Federico Fellini's Satyricon (1969) Labels: media commentary, teaching

Thursday, February 22, 2007 7:39 PM   Comments: That's tough. I'd probably take Antonioni over Fellini (as much as I love Fellini) for pure form, and probably "L'Avventura". Although you could easily use both. Also "Virgin Spring" by Bergman. I'd also think about "Hara Kiri" by Kobayashi (originally released as Seppuku). And maybe even "In The Mood For Love" by Kar Wai Wong. And although challenging from a compositional standpoint (his use of medium depth fixed point shots is brilliant), Haneke's Cache might be an interesting choice. # posted by  Darren : 1:42 PM   Damn, good picks! I still haven't seen Cache. I need to move it up in my queue. Today we looked at the opening two minutes of Punch-Drunk Love, an idea stolen from here. Worked well. # posted by  jpb : 9:42 PM   If you're focusing on cinematography or compositional elements, I'd think it's be easy to work with directors who shoot like Ansel Adams: Antonioni and Bergman. Stark dramatic shots. Bold direct elements. Cache would be hard to work with, but an interesting choice, because it violates almost every rule of good composition. # posted by  Darren : 1:35 PM   Post a Comment