Through the recreation of the close up shot from Once Upon A Time in the West (1968), I have aimed to explore Deleuze’s idea regarding “The determination of a closed image… which includes everything which is present in the image.” (Deleuze, 1986, p. 12) I have tried to outline in the first recreation, the image as a means of representing the character through the close up shot, outline the facial expression. My reproduction, although of a female rather than male outlines the fact that the image is in fact “closed”, containing only the visual, the frame providing a boundary.

The second image taken is an interpretation of the image, which is obviously of the Western Genre due to the colour palate and hate, with Land/ Mountains in the distance. In my reproduction I have explored Deleuze’s idea previously mentioned accompanied by his idea of the “out-of-field”, highlighting the control the frame can have over the images within it, not allowing for the exterior of the image to seep in, as it remains a mystery. I have attempted to display the idea (through the use of an actual frame) that there is a range of elements outside of the frame, whether it is literal setting and mise-en-scene, or perhaps broader contextual ideas – of which I haven’t explored within my photo.

The task of recreating photos this week has allowed me to begin thinking about obtaining a deeper and broader understanding of all elements of the frame, what it includes and what it may perhaps not include – whether intentional or not. So far in the studio, we have explored how the frame can be constructed and how audiences can interpret the frame, however I am looking to see how filmmakers use their construction of the frame to influence audiences to receive it in a particular way and the methods they use in doing so.
REFERENCE:

Deleuze, G., Tomlinson, H. and Habberjam, B. (1986) Cinema: v. 1: The Movement-Image. Minneapolis: Continuum International Publishing Group – Athlone Press.

When watching film as a viewer, it does not occur that there are many things within the creation of a film that tae place in order for the image to flow in a progressive manner. Things such as continuity editing and the 180-degree shot are elements of film that may be specifically noticed or appreciated until they are focused on. When watching a film, continuity is crucial in creating a seamlessly flowing picture, assisted by the 180-degree rule. When this is turned on its head, audiences may feel uncomfortable or thrown off, as the filmmakers begin to project something out of the ordinary, turning the ‘rules’ on their heads and bringing a sense of variation to their work. Across the board, the 180-degree rule is used for audiences to understand what is happening within a shot, where things are placed, where the actors may be and their placement in regards to their surroundings. Evident in the forest scene in Donnie Darko, audiences feel comfortable as the camera looks at the two characters conversing in a medium shot. If the 180-degree rule was not in place here, if the camera had turned so the characters were on opposite sides of the frame, what would have happened? Audiences would feel confused, frazzled, uncomfortable with the fact that the new shot somewhat ‘interrupts’ the previous, changing their knowledge of the placement and situation of things within the world of the film. Filmmakers digress from this rule when they want to create this said state for the viewers to be within, changing their mode of understanding into something more complicated to be comprehended.
REFERENCE:
Donnie Darko (2001) Directed by Richard Kelly [Film]. USA: Pandora Cinema

When it comes to artwork, photographs or even stills, perception is an important part of the creative process. The Allegory of the Cave or, Plato’s Cave demonstrates individual knowledge of what is reality or what has been fabricated. Through photography especially, an artist may choose the impression they desire to give, what their artwork is to include, or what to omit. This demonstrates the control of the artist, and the power they have in projecting their own message. As discussed in class this week, also highlighted in the Sontag required reading, there are endless possibilities in altering a true or natural image. Anything can be retouched, cropped or doctored in both photography and film. This is the creative control and power previously mentioned being exercised. What may have started to serve as a recollection of an event or place can be manipulated to serve another purpose or give a different impression. The presentation of work is key in the intended message. In Plato’s Cave, the prisoners believed the shadows on the wall to be a version of reality. However if they had not been chained to only see the wall, and had seen the individuals creating the shadows, they would have interpreted what was being shown to them in a completely different manner. It is about perspective – what is in focus and what is not.

Sontag’s reading mentions, “Although there is a sense in which the camera does indeed capture reality, not just interpret it, photographs are as much an interpretation of the world as paintings and drawings are.” This concept is crucial in reinforcing the idea that although photography as an art form does reflect reality, capturing it in one frame, a pivotal role of the audience is a piece of works’ interpretation. Throughout this semester, I am intrigued to observe how film is a reflection of reality mixed with the unrestricted of interpretation, and the manner in which interpretation differs from individual to individual.

REFERENCE:

Sontag, S. (1979) On Photography. pp. 3-13, United Kingdom: Penguin, [1979].

The National Gallery of Victoria, also known as the NGV is full of a range of artworks spanning over different time periods and a range of creative environments. The task in week one, to visit the NGV and list paintings, focusing on various aspects of the frame was refreshing and intriguing. Jumping from room to room, it was interesting to distinguish the contrast in influences from collections such as the Asian Artworks to the European Artwork. When inspecting individual pieces of artwork, the aspects of the image as a whole can be recognised individually and together to create the artwork as a whole. Lighting, usually dimly lit, was however utilised to shine on individual artworks, highlighting fine strokes or to draw focus on the key areas of a painting. One thing that I noticed was the use of frames. In some paintings such as David Hockney’s “The Second Marriage”, the frame used was barely that, a simple orange looking trim to encase the painting and its slated edges in order for onlookers to completely focus on what the painting was communicating. In contrast, J. M. W Turner’s “Dunstanburgh Castle, north-east coast of Northumberland, sunrise after a squally night” was encased by a large gold frame. It’s thickness and grandeur draws attention to the lighter aspects of the painting, taking the focus from its lower half, which had darker tones.

It was interesting to see the way in which a gallery uses the lighting and specifically frames itself to create a focus for the audience that was seemingly intended by the artists themselves. In the artworks that I saw, the frames strengthen the artwork, rather than overpower them.

Links to the paintings mentioned in the Gallery are:

• David Hockney’s “The Second Marriage” (1963):
http://www.ngv.vic.gov.au/explore/collection/work/4054/

• M. W Turner’s “Dunstanburgh Castle, north-east coast of Northumberland, sunrise after a squally night” (1798):
http://www.ngv.vic.gov.au/explore/collection/work/4423/