2. The reading I am focusing on is the week 5 reading which contains excerpts from Martin Scorsese and Dusan Makavejev. Here are my two standout points from the reading:
- While I am already an advocate for using a Mastering shot when filming, I really liked Scorsese’s approach to the Master shot being just for him so he can establish everything in the room and really visually capture how everything is set and plays out. I think this is a great idea to ensure continuity whilst editing and also just as a reference to look back on. This is definitely a technique I will be employing in my groups film.
- Another thing which I found to be very potent from the reading is Makavejev’s point that when you are framing shots you must consciously think that unlike you the viewers of the film will not be aware of the surrounding images. Now I know this sounds extremely honest and like it is hardly a revelation, however when I am framing shots this is an aspect I just don’t consciously think of, especially in regards to how there can be a tension and excitement from the viewers about what lies beyond the borders of the frame.
3.
This scene from Blow Up shows a highly choreapgraphed and rehearsed sequence, in regard to the movements of the actors as they barely remain still for the whole scene, moving in around the house and through the extremely obtrusive wooden stucture in the middle of the house.
Here Antonioni shows off exemplary work, in the way he would of directed the actors as their movements remain so natural despite the constant movement they are required to do.
There is also some extremely unusual framing within this scene most notably when the woman stands up and her upper half is completely covered by the woodern structure emphasising it’s presence on the set.