In this post, Bordwell discusses framing and composition in contemporary films, with particular emphasis on examples from the latest Mad Max film. He notes that in modern widescreen cinema, filmmakers leave much of the frame blank in closeups and therefore the composition of the shot is important. Bordwell also stresses that ‘the space within the frame should be entirely used up in composition,’ and explains that the background can be filled to create compositional tension.

Bordwell’s comments on composition are interesting when also considering Dmytryk’s action cutting notes in On Film editing. Both stress the importance of the viewer being able to follow the action in the frame between cuts, and highlight badly executed quick- cuts in action films that leave the audience floundering, in a visual sense. Bordwell’s particular emphasis on framing with references to Mad Max and comments from Vashi Nedomansky on quick cuts and positioning of the action are interesting and comprehensive in explaining the importance on elements in the frame.

While Bordwell’s emphasis in this blog is mainly on the frame and the shot, the small notes he makes about quick cuts are quite similar in theory to Dmytryk and are imperative in understanding composition. The notes also help in understanding the complexity behind creating a montage sequence, and the meticulous planning needed for continuity with such quick cuts being employed in a Mad Max type montage.