The Close Up In Context
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The Close Up in Context
the close-up is one of a filmmakers greatest tools as blahs puts it close-ups are the pictures expressing the poetic sensibility of the director take Tarantino an obvious choice in this scene from Jackie Brown he uses the close-up of Samuel Jackson's character using a TV remote as a point of emphasis as if to tell the audience hey pay attention to this shit let's let this play check out this gun here and this here is a styie all this back on Sam's face up close as he laughs well that rewind emphasized the clip that Sam plays the clothes on his reaction emphasizes his attitude towards it we've emphasis on top of emphasis we just learned a whole lot about this character in just seconds of screen time now this clip from Edgar Wright's Hot Fuzz in that same chapter from Balazs in reference to air glossing and his photographic interpretations of homer he concludes that in terms of the presentation of man objects should only be described. much as they pertain to the action however Epstein and his writings on photo Genie remarks that the close-up on an object gives said object special characteristics not unlike any human character the close-ups on the guns and of course the mine gives the room a sort of character in and of itself it's something that's mysterious but also dangerous but this video isn't necessarily about the power of the close-up rather it's about the power of the close-up in context or how different filmic effects can create that same power that a close-up can have with context on the remote its context for what Sam Jackson is laughing at and that laughs traits context for his character every motherfucker in the room accept no substitutes rapid edit of close-ups of weapon jury and Hot Fuzz overwhelming our brain can barely keep track but it's from this context that creates the feeling of that room the context of montage combined with the close-up is what really gives these scenes their power montage is David Bordwell puts it guides the viewers attention controls rhythm creating metaphor rhetorical points blahs argues that the close up is this window a mirror in which we see ourselves that to see an isolated face plus ourselves in another dimension that of physiography he references the many faces of The Passion of Joan of Arc a film that one might consider close-up the movie and indeed the expression of these intimate faces tied together in montage creates such a human tension but in contrast take a filmmaker like Kuleshov known of course for the Kuleshov effect for him close-up isn't necessarily an end-all be-all for human storytelling rather it's the juxtaposition montage as previously mentioned that does the trick. on that note I'd like to end this video with a scene that has a little bit of that Kuleshov spice it's a zoos masterpiece a Tokyo story a film with no close-ups at all that'll take us away early in the film as the grandfather converses with his daughter-in-law he spots the grandmother just taking one of their grandsons for a walk first we get this wide perspective from the grandfather's point of view this angle in itself is a great moment but OHS ooh as he does those as a curveball he blasts into the perspective of the grandmother and grandson the grandmother reflects on her own motherhood commenting on the grandsons potential and whether or not she'll be around to enjoy foreshadowing the end of the film but just as we start to get familiar with the space hosszú pulls back this intimacy is fleeting as it often is there are no close-ups in the scene but I'll be damned if I felt more connected to the grandmother in those few seconds than I ever did with Joan of Arc
The Close Up in Context
the close-up is one of a filmmakers greatest tools as blahs puts it close-ups are the pictures expressing the poetic sensibility of the director take Tarantino an obvious choice in this scene from Jackie Brown he uses the close-up of Samuel Jackson's character using a TV remote as a point of emphasis as if to tell the audience hey pay attention to this shit let's let this play check out this gun here and this here is a styie all this back on Sam's face up close as he laughs well that rewind emphasized the clip that Sam plays the clothes on his reaction emphasizes his attitude towards it we've emphasis on top of emphasis we just learned a whole lot about this character in just seconds of screen time now this clip from Edgar Wright's Hot Fuzz in that same chapter from Balazs in reference to air glossing and his photographic interpretations of homer he concludes that in terms of the presentation of man objects should only be described. much as they pertain to the action however Epstein and his writings on photo Genie remarks that the close-up on an object gives said object special characteristics not unlike any human character the close-ups on the guns and of course the mine gives the room a sort of character in and of itself it's something that's mysterious but also dangerous but this video isn't necessarily about the power of the close-up rather it's about the power of the close-up in context or how different filmic effects can create that same power that a close-up can have with context on the remote its context for what Sam Jackson is laughing at and that laughs traits context for his character every motherfucker in the room accept no substitutes rapid edit of close-ups of weapon jury and Hot Fuzz overwhelming our brain can barely keep track but it's from this context that creates the feeling of that room the context of montage combined with the close-up is what really gives these scenes their power montage is David Bordwell puts it guides the viewers attention controls rhythm creating metaphor rhetorical points blahs argues that the close up is this window a mirror in which we see ourselves that to see an isolated face plus ourselves in another dimension that of physiography he references the many faces of The Passion of Joan of Arc a film that one might consider close-up the movie and indeed the expression of these intimate faces tied together in montage creates such a human tension but in contrast take a filmmaker like Kuleshov known of course for the Kuleshov effect for him close-up isn't necessarily an end-all be-all for human storytelling rather it's the juxtaposition montage as previously mentioned that does the trick. on that note I'd like to end this video with a scene that has a little bit of that Kuleshov spice it's a zoos masterpiece a Tokyo story a film with no close-ups at all that'll take us away early in the film as the grandfather converses with his daughter-in-law he spots the grandmother just taking one of their grandsons for a walk first we get this wide perspective from the grandfather's point of view this angle in itself is a great moment but OHS ooh as he does those as a curveball he blasts into the perspective of the grandmother and grandson the grandmother reflects on her own motherhood commenting on the grandsons potential and whether or not she'll be around to enjoy foreshadowing the end of the film but just as we start to get familiar with the space hosszú pulls back this intimacy is fleeting as it often is there are no close-ups in the scene but I'll be damned if I felt more connected to the grandmother in those few seconds than I ever did with Joan of Arc
The Close Up in Context
the close-up is one of a filmmakers greatest tools as blahs puts it close-ups are the pictures expressing the poetic sensibility of the director take Tarantino an obvious choice in this scene from Jackie Brown he uses the close-up of Samuel Jackson's character using a TV remote as a point of emphasis as if to tell the audience hey pay attention to this shit let's let this play check out this gun here and this here is a styie all this back on Sam's face up close as he laughs well that rewind emphasized the clip that Sam plays the clothes on his reaction emphasizes his attitude towards it we've emphasis on top of emphasis we just learned a whole lot about this character in just seconds of screen time now this clip from Edgar Wright's Hot Fuzz in that same chapter from Balazs in reference to air glossing and his photographic interpretations of homer he concludes that in terms of the presentation of man objects should only be described. much as they pertain to the action however Epstein and his writings on photo Genie remarks that the close-up on an object gives said object special characteristics not unlike any human character the close-ups on the guns and of course the mine gives the room a sort of character in and of itself it's something that's mysterious but also dangerous but this video isn't necessarily about the power of the close-up rather it's about the power of the close-up in context or how different filmic effects can create that same power that a close-up can have with context on the remote its context for what Sam Jackson is laughing at and that laughs traits context for his character every motherfucker in the room accept no substitutes rapid edit of close-ups of weapon jury and Hot Fuzz overwhelming our brain can barely keep track but it's from this context that creates the feeling of that room the context of montage combined with the close-up is what really gives these scenes their power montage is David Bordwell puts it guides the viewers attention controls rhythm creating metaphor rhetorical points blahs argues that the close up is this window a mirror in which we see ourselves that to see an isolated face plus ourselves in another dimension that of physiography he references the many faces of The Passion of Joan of Arc a film that one might consider close-up the movie and indeed the expression of these intimate faces tied together in montage creates such a human tension but in contrast take a filmmaker like Kuleshov known of course for the Kuleshov effect for him close-up isn't necessarily an end-all be-all for human storytelling rather it's the juxtaposition montage as previously mentioned that does the trick. on that note I'd like to end this video with a scene that has a little bit of that Kuleshov spice it's a zoos masterpiece a Tokyo story a film with no close-ups at all that'll take us away early in the film as the grandfather converses with his daughter-in-law he spots the grandmother just taking one of their grandsons for a walk first we get this wide perspective from the grandfather's point of view this angle in itself is a great moment but OHS ooh as he does those as a curveball he blasts into the perspective of the grandmother and grandson the grandmother reflects on her own motherhood commenting on the grandsons potential and whether or not she'll be around to enjoy foreshadowing the end of the film but just as we start to get familiar with the space hosszú pulls back this intimacy is fleeting as it often is there are no close-ups in the scene but I'll be damned if I felt more connected to the grandmother in those few seconds than I ever did with Joan of Arc
The Close Up in Context
the close-up is one of a filmmakers greatest tools as blahs puts it close-ups are the pictures expressing the poetic sensibility of the director take Tarantino an obvious choice in this scene from Jackie Brown he uses the close-up of Samuel Jackson's character using a TV remote as a point of emphasis as if to tell the audience hey pay attention to this shit let's let this play check out this gun here and this here is a styie all this back on Sam's face up close as he laughs well that rewind emphasized the clip that Sam plays the clothes on his reaction emphasizes his attitude towards it we've emphasis on top of emphasis we just learned a whole lot about this character in just seconds of screen time now this clip from Edgar Wright's Hot Fuzz in that same chapter from Balazs in reference to air glossing and his photographic interpretations of homer he concludes that in terms of the presentation of man objects should only be described. much as they pertain to the action however Epstein and his writings on photo Genie remarks that the close-up on an object gives said object special characteristics not unlike any human character the close-ups on the guns and of course the mine gives the room a sort of character in and of itself it's something that's mysterious but also dangerous but this video isn't necessarily about the power of the close-up rather it's about the power of the close-up in context or how different filmic effects can create that same power that a close-up can have with context on the remote its context for what Sam Jackson is laughing at and that laughs traits context for his character every motherfucker in the room accept no substitutes rapid edit of close-ups of weapon jury and Hot Fuzz overwhelming our brain can barely keep track but it's from this context that creates the feeling of that room the context of montage combined with the close-up is what really gives these scenes their power montage is David Bordwell puts it guides the viewers attention controls rhythm creating metaphor rhetorical points blahs argues that the close up is this window a mirror in which we see ourselves that to see an isolated face plus ourselves in another dimension that of physiography he references the many faces of The Passion of Joan of Arc a film that one might consider close-up the movie and indeed the expression of these intimate faces tied together in montage creates such a human tension but in contrast take a filmmaker like Kuleshov known of course for the Kuleshov effect for him close-up isn't necessarily an end-all be-all for human storytelling rather it's the juxtaposition montage as previously mentioned that does the trick. on that note I'd like to end this video with a scene that has a little bit of that Kuleshov spice it's a zoos masterpiece a Tokyo story a film with no close-ups at all that'll take us away early in the film as the grandfather converses with his daughter-in-law he spots the grandmother just taking one of their grandsons for a walk first we get this wide perspective from the grandfather's point of view this angle in itself is a great moment but OHS ooh as he does those as a curveball he blasts into the perspective of the grandmother and grandson the grandmother reflects on her own motherhood commenting on the grandsons potential and whether or not she'll be around to enjoy foreshadowing the end of the film but just as we start to get familiar with the space hosszú pulls back this intimacy is fleeting as it often is there are no close-ups in the scene but I'll be damned if I felt more connected to the grandmother in those few seconds than I ever did with Joan of Arc
The Close Up in Context
the close-up is one of a filmmakers greatest tools as blahs puts it close-ups are the pictures expressing the poetic sensibility of the director take Tarantino an obvious choice in this scene from Jackie Brown he uses the close-up of Samuel Jackson's character using a TV remote as a point of emphasis as if to tell the audience hey pay attention to this shit let's let this play check out this gun here and this here is a styie all this back on Sam's face up close as he laughs well that rewind emphasized the clip that Sam plays the clothes on his reaction emphasizes his attitude towards it we've emphasis on top of emphasis we just learned a whole lot about this character in just seconds of screen time now this clip from Edgar Wright's Hot Fuzz in that same chapter from Balazs in reference to air glossing and his photographic interpretations of homer he concludes that in terms of the presentation of man objects should only be described. much as they pertain to the action however Epstein and his writings on photo Genie remarks that the close-up on an object gives said object special characteristics not unlike any human character the close-ups on the guns and of course the mine gives the room a sort of character in and of itself it's something that's mysterious but also dangerous but this video isn't necessarily about the power of the close-up rather it's about the power of the close-up in context or how different filmic effects can create that same power that a close-up can have with context on the remote its context for what Sam Jackson is laughing at and that laughs traits context for his character every motherfucker in the room accept no substitutes rapid edit of close-ups of weapon jury and Hot Fuzz overwhelming our brain can barely keep track but it's from this context that creates the feeling of that room the context of montage combined with the close-up is what really gives these scenes their power montage is David Bordwell puts it guides the viewers attention controls rhythm creating metaphor rhetorical points blahs argues that the close up is this window a mirror in which we see ourselves that to see an isolated face plus ourselves in another dimension that of physiography he references the many faces of The Passion of Joan of Arc a film that one might consider close-up the movie and indeed the expression of these intimate faces tied together in montage creates such a human tension but in contrast take a filmmaker like Kuleshov known of course for the Kuleshov effect for him close-up isn't necessarily an end-all be-all for human storytelling rather it's the juxtaposition montage as previously mentioned that does the trick. on that note I'd like to end this video with a scene that has a little bit of that Kuleshov spice it's a zoos masterpiece a Tokyo story a film with no close-ups at all that'll take us away early in the film as the grandfather converses with his daughter-in-law he spots the grandmother just taking one of their grandsons for a walk first we get this wide perspective from the grandfather's point of view this angle in itself is a great moment but OHS ooh as he does those as a curveball he blasts into the perspective of the grandmother and grandson the grandmother reflects on her own motherhood commenting on the grandsons potential and whether or not she'll be around to enjoy foreshadowing the end of the film but just as we start to get familiar with the space hosszú pulls back this intimacy is fleeting as it often is there are no close-ups in the scene but I'll be damned if I felt more connected to the grandmother in those few seconds than I ever did with Joan of Arc
The Close Up in Context
the close-up is one of a filmmakers greatest tools as blahs puts it close-ups are the pictures expressing the poetic sensibility of the director take Tarantino an obvious choice in this scene from Jackie Brown he uses the close-up of Samuel Jackson's character using a TV remote as a point of emphasis as if to tell the audience hey pay attention to this shit let's let this play check out this gun here and this here is a styie all this back on Sam's face up close as he laughs well that rewind emphasized the clip that Sam plays the clothes on his reaction emphasizes his attitude towards it we've emphasis on top of emphasis we just learned a whole lot about this character in just seconds of screen time now this clip from Edgar Wright's Hot Fuzz in that same chapter from Balazs in reference to air glossing and his photographic interpretations of homer he concludes that in terms of the presentation of man objects should only be described. much as they pertain to the action however Epstein and his writings on photo Genie remarks that the close-up on an object gives said object special characteristics not unlike any human character the close-ups on the guns and of course the mine gives the room a sort of character in and of itself it's something that's mysterious but also dangerous but this video isn't necessarily about the power of the close-up rather it's about the power of the close-up in context or how different filmic effects can create that same power that a close-up can have with context on the remote its context for what Sam Jackson is laughing at and that laughs traits context for his character every motherfucker in the room accept no substitutes rapid edit of close-ups of weapon jury and Hot Fuzz overwhelming our brain can barely keep track but it's from this context that creates the feeling of that room the context of montage combined with the close-up is what really gives these scenes their power montage is David Bordwell puts it guides the viewers attention controls rhythm creating metaphor rhetorical points blahs argues that the close up is this window a mirror in which we see ourselves that to see an isolated face plus ourselves in another dimension that of physiography he references the many faces of The Passion of Joan of Arc a film that one might consider close-up the movie and indeed the expression of these intimate faces tied together in montage creates such a human tension but in contrast take a filmmaker like Kuleshov known of course for the Kuleshov effect for him close-up isn't necessarily an end-all be-all for human storytelling rather it's the juxtaposition montage as previously mentioned that does the trick. on that note I'd like to end this video with a scene that has a little bit of that Kuleshov spice it's a zoos masterpiece a Tokyo story a film with no close-ups at all that'll take us away early in the film as the grandfather converses with his daughter-in-law he spots the grandmother just taking one of their grandsons for a walk first we get this wide perspective from the grandfather's point of view this angle in itself is a great moment but OHS ooh as he does those as a curveball he blasts into the perspective of the grandmother and grandson the grandmother reflects on her own motherhood commenting on the grandsons potential and whether or not she'll be around to enjoy foreshadowing the end of the film but just as we start to get familiar with the space hosszú pulls back this intimacy is fleeting as it often is there are no close-ups in the scene but I'll be damned if I felt more connected to the grandmother in those few seconds than I ever did with Joan of Arc
The Close Up in Context
the close-up is one of a filmmakers greatest tools as blahs puts it close-ups are the pictures expressing the poetic sensibility of the director take Tarantino an obvious choice in this scene from Jackie Brown he uses the close-up of Samuel Jackson's character using a TV remote as a point of emphasis as if to tell the audience hey pay attention to this shit let's let this play check out this gun here and this here is a styie all this back on Sam's face up close as he laughs well that rewind emphasized the clip that Sam plays the clothes on his reaction emphasizes his attitude towards it we've emphasis on top of emphasis we just learned a whole lot about this character in just seconds of screen time now this clip from Edgar Wright's Hot Fuzz in that same chapter from Balazs in reference to air glossing and his photographic interpretations of homer he concludes that in terms of the presentation of man objects should only be described. much as they pertain to the action however Epstein and his writings on photo Genie remarks that the close-up on an object gives said object special characteristics not unlike any human character the close-ups on the guns and of course the mine gives the room a sort of character in and of itself it's something that's mysterious but also dangerous but this video isn't necessarily about the power of the close-up rather it's about the power of the close-up in context or how different filmic effects can create that same power that a close-up can have with context on the remote its context for what Sam Jackson is laughing at and that laughs traits context for his character every motherfucker in the room accept no substitutes rapid edit of close-ups of weapon jury and Hot Fuzz overwhelming our brain can barely keep track but it's from this context that creates the feeling of that room the context of montage combined with the close-up is what really gives these scenes their power montage is David Bordwell puts it guides the viewers attention controls rhythm creating metaphor rhetorical points blahs argues that the close up is this window a mirror in which we see ourselves that to see an isolated face plus ourselves in another dimension that of physiography he references the many faces of The Passion of Joan of Arc a film that one might consider close-up the movie and indeed the expression of these intimate faces tied together in montage creates such a human tension but in contrast take a filmmaker like Kuleshov known of course for the Kuleshov effect for him close-up isn't necessarily an end-all be-all for human storytelling rather it's the juxtaposition montage as previously mentioned that does the trick. on that note I'd like to end this video with a scene that has a little bit of that Kuleshov spice it's a zoos masterpiece a Tokyo story a film with no close-ups at all that'll take us away early in the film as the grandfather converses with his daughter-in-law he spots the grandmother just taking one of their grandsons for a walk first we get this wide perspective from the grandfather's point of view this angle in itself is a great moment but OHS ooh as he does those as a curveball he blasts into the perspective of the grandmother and grandson the grandmother reflects on her own motherhood commenting on the grandsons potential and whether or not she'll be around to enjoy foreshadowing the end of the film but just as we start to get familiar with the space hosszú pulls back this intimacy is fleeting as it often is there are no close-ups in the scene but I'll be damned if I felt more connected to the grandmother in those few seconds than I ever did with Joan of Arc
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