Reading - Richard Lost .docx

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Published on 13 Mar 2013
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Richard Lost
Analyze how themes and parallels articulated through stylistic decisions of filmmakers
Style sensitive approach allows richer, nuanced understadngins of how religious
themes function in film
style-sensitive approach need not necessarily lead to questions of filmmakers’ intentions.”
(547)
meaning partially expressed through stylistic considertations (i.e. lighting)
motifs require attention to style
film style
o mise-en-scene all captured within film shot, basic building block, whatever fills
image, “provide a believable environment for the action” (549)
o cinematography how image is framed and photographed, duration of shot,
special effects, framing… “Each aspect of every film’s cinematography results
from filmmaers’ decisions and intentions” (550), demand attention
o editing transition, arrangement of shots, “crucial decisions that impact the
development and expression of filmic themes” (551), temporal relationship,
continuous vs discontinuous,
o sound volume, pitch, timbre, “Film is collaborative” (552), sounds associating
with broader themes and contributing
four components used to express and develop religious motifs, greater understanding
of religion in film
Stranger than Fiction
Wristwatch guide through daily routine and express relationship, associated with self
Equating character with watch, display thoughts, kitchen outline setting resemble face
of watch, part of watch beomces embedded in arm… God as watchmaker (watch and
watchmaker relationship), shot sequence and being “watched”
Sound of free will, theme of divine authority and human capacity -> “authority of sound
in film,” (555) is sound subordinate or superior to authority of the image
Audiovisual cues and clues, confuse temporal relationship, nuanced theme, interwining
themes visual nor audio authoritative on their own, complement each other, “only
when they converge can film meaning be conveyed” (558)
Religious intertwined with larger issues related to psychology of characters and
capacity of sound to express meaning in film medium
Gospel of John
Divine logos with and was God, “I am,” Jesus and salvation, “filmmakers supplement the
text of the film with audio-visual dimensions that function to to humanize Jesus and
thereby alter our perception of Jesus’s identity” (559) (vs bible divine)
Jesus’s shadow -> dissolve transition -> sun “This was the real light” – first impression
of film’s Jesus, high Christology associating Jesus with divine in narration but mise-en-
scene -> imagine Jesus as human being (shadow = existence)
“visual cues to articulate the theme of Jesus’ human qualities throughout the film”
(560)
text mention Jesus first but editors priority o screening of criminals beside Jesus, Jesus
outside frame in crucifixion -> first shot later from low angle, second shot high, off
centre -> high angle from behind… deny extraordinary status, equal to anyone else
sentenced , human over divine, blend Jesus with humanity
style-sensitive approach gives us access to important ways in which films express thematic
material(562)

Document Summary

Analyze how themes and parallels articulated through stylistic decisions of filmmakers. Style sensitive approach allows richer, nuanced understadngins of how religious themes function in film. Style-sensitive approach need not necessarily lead to questions of filmmakers" intentions. (547) Meaning partially expressed through stylistic considertations (i. e. lighting) Wristwatch guide through daily routine and express relationship, associated with self. Equating character with watch, display thoughts, kitchen outline setting resemble face of watch, part of watch beomces embedded in arm god as watchmaker (watch and watchmaker relationship), shot sequence and being watched . Sound of free will, theme of divine authority and human capacity -> authority of sound in film, (555) is sound subordinate or superior to authority of the image. Audiovisual cues and clues, confuse temporal relationship, nuanced theme, interwining themes visual nor audio authoritative on their own, complement each other, only when they converge can film meaning be conveyed (558)