Using Darkness: SHADOWS AND STORYTELLING
As Egger’s Nosferatu starts to creep around the corner I thought it would be a good opportunity to look at shadows in filmmaking. Shadows have been a critical element in cinematic storytelling since the inception of the medium, serving not only as a tool for creating visual interest but also as a powerful psychological device.
Family Ties: Directing with Transactional Analysis
For directors, guiding actors to convey subtext is a delicate and often elusive art. One approach that can offer profound insight into this process is
Transactional Analysis
(TA), a psychological framework developed by Dr. Eric Berne in the late 1950s. TA's principles can be employed to deepen the relational dynamics between characters, providing actors with a powerful tool to explore and express the underlying psychological currents driving their actions. In this article, we will explore how directors can apply TA in performance direction, using examples from independent films where these ideas have been effectively harnessed to create richer, more complex narratives.
Elevated Filmmaking: Power and the Subtext of Height
One powerful tool in a filmmaker's arsenal is the manipulation of height—achieved through camera angles or the arrangement of characters within the frame. This technique is key to storytelling, especially when it comes to expressing power dynamics. By subtly altering our perspective, filmmakers can shape how we perceive characters, suggesting complex psychological and emotional undercurrents.
Compressing Reality: The Storytelling Power of the Telephoto Lens
In the realm of cinematography, the choice of lens is more than a technical decision. As discussed in The Art of Directing course, camera choices are narrative choices that shapes the visual language and psychological underpinnings of a film. Among these tools, the telephoto lens - or long lens - stands out for its unique ability to compress space and focus attention, offering filmmakers a powerful instrument to manipulate audience perception.
The French Over
The French Over composition style, which places the camera behind characters, offers a vantage point that can enrich the narrative. In essence, the camera setup occurs on the opposite side of the usual 180-degree line (see diagram at bottom of page). The same grammatical rules apply - in that you have to stay on the same side of the line in a dialogue exchange - but the effect is distinctly different. French Overs can be attention-grabbing as they subtly manipulate the viewer’s perspective, placing them in a distinctly voyeuristic position that evokes a sense of intimacy and participation.
Theme Development: Case Study
Any work with theme - as the foundation of your visual subtext - should first involve research. That research can take a number of forms but should centre on a two part process:
Reading up on specific concepts and ideas connected to your film.
Gathering visual materials (films, artworks, photographs, etc) in relation to those concepts and ideas.
Think like an artist
In the realm of filmmaking, technical prowess alone does not guarantee success. The true mastery lies in an ability to infuse each frame with a distinct artistic vision. For new directors, thinking like an artist is not just beneficial—it is imperative. This approach transcends the mere execution of scenes, transforming films into immersive experiences that resonate on a deeper level. Here’s why adopting an artistic mindset is crucial for burgeoning directors.
Zbigniew Rybczyński and Early Video Art
When it comes to the visual arts there is often a division between artistic vision and technical craft. This is true in both the world of modern art and commercial media. On the one side there are the atists, the film or tv directors or the advertising creative teams who come up with the ideas. On the other there are the practictioners who put these ideas into practice. It used to be the case in the old studio systems that apprentices would be able to work there way up to be directors but those systems are gone. It is much more fluid today but there still seems a distinction between those who decide on an artistic concept and those who realise it.
The Uncanny and Folk Horror: Exploring The Witch as a Film Director
‘Yesterday I was in the kingdom of shadows’ Maxim Gorky
Cinema is inherently uncanny. At the beginning of cinema the Russian writer Maxim Gorky, described his experience of witnessing the fabled screening of L'Arrivée d'un train en gare de La Ciotat in 1896 as ‘This is not life but the shadow of life and this is not movement but the soundless shadow of movement.’
Using the frame
When it comes to making creative choices as a director one of the big things that needs to be considered is the frame. That process begins in pre-production with shots lists and storyboarding, evolves in production when working with your DOP and Actors (not to mention logistical location issues) and finishes in post-production with digital repositioning, aspect ratio adjustments and other finishing touches.
The Red Balloon and Visual Storytelling
In this post, I’m delving into the realm of visual subtext within short films, exploring how strong themes can be conveyed visually rather than relying on dialogue. This topic is essential for filmmakers aiming to tell compelling stories through images alone.
Strangerhood and Visual Subtext
This is the first in a series of posts based on a lecture I gave for The Miskatonic Institute of Horror in 2022. I’m going to discuss Visual Subtext and how it relates to Stranger Danger in the horror film.