Deleuze, G., 1986. Cinema 1: The movement-image, trans. Hugh Tomlinson and Barbara Habberjam (Minneapolis: University of Minnesota Press, 1986) (pp.87-90)
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In the chapter “The affection-image Face and close-up”, the author mentions Eisenstein’s idea on how close-up relates to the total build-up of the story of the film. Close-up may only offer the audience one glimpse while it is telling enough for them to take a portrait of the whole film. A single close-up can describe the entire emotion of the character that the director looks to establish or to strengthen a kind of atmosphere particularly. The close-up may not directly reach out to the profound aspect of the film while it strives to help the audience to spy upon the psychological state of the figures.
In the chapter “The affection-image Face and close-up”, the author mentions Eisenstein’s idea on how close-up relates to the total build-up of the story of the film. Close-up may only offer the audience one glimpse while it is telling enough for them to take a portrait of the whole film. A single close-up can describe the entire emotion of the character that the director looks to establish or to strengthen a kind of atmosphere particularly. The close-up may not directly reach out to the profound aspect of the film while it strives to help the audience to spy upon the psychological state of the figures.