Cinematic Techniques In The Film Camerawork Of Frances Ha
Camerawork of Frances Ha Throughout the film the cinematography has interested me in a way that I have not been before. The combination of still camera and movement in the scenes really sets this film apart from others. The film Frances Ha a number of cinematic techniques are used to advance the story such as using cinematography, sound and editing to affect what we see and feel about the characters. The scenes that really moved me were in the last ten minutes of the film. I felt that it came to a conclusion that satisfied the viewer enough, but left room for speculation and ambiguity for the viewer to stay interested in the film even after the credits roll. These last important minutes of the film serve as a representation of Frances recovering from her low point where nothing seemed to go right for her. The
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Voice and Vision writes that, “How you distribute this visual weight within the frame. . . gives your composition a sense of stability or instability” (Cherrier, 51). Establishing shots of buildings seems to be right across the street and a good number of shots of just Frances seem to put her right in the center making her feel like the center of attention. Besides the centered composition, there is attention given to the balancing of shot reverse shots using appropriate lead room for the characters. The axis of action is never broken.
In the dorm room scene the choice of a relatively normal lens instead of a wide angle or a long lens invites the viewer instead of disorienting like a wide angle lens or distancing like a long lens would do. According to Voice and Vision, “A normal lens approximates the same perspective and image size that the human eye would see” (Cherrier, 222). It makes the viewer feel like they are there in the space with the actors. The choice of lens coupled with the movement of the camera throughout the scene leads to the transitions between parts of the
Voice and Vision writes that, “How you distribute this visual weight within the frame. . . gives your composition a sense of stability or instability” (Cherrier, 51). Establishing shots of buildings seems to be right across the street and a good number of shots of just Frances seem to put her right in the center making her feel like the center of attention. Besides the centered composition, there is attention given to the balancing of shot reverse shots using appropriate lead room for the characters. The axis of action is never broken.
In the dorm room scene the choice of a relatively normal lens instead of a wide angle or a long lens invites the viewer instead of disorienting like a wide angle lens or distancing like a long lens would do. According to Voice and Vision, “A normal lens approximates the same perspective and image size that the human eye would see” (Cherrier, 222). It makes the viewer feel like they are there in the space with the actors. The choice of lens coupled with the movement of the camera throughout the scene leads to the transitions between parts of the