Comparing and mapping the camera choreography in:
'The Red and the White' Miklós Jancsó 1968
and
'The Turin Horse' Bela Tarr 2011
'Miklos Jancso uses the real-time long take to create an abstract
spectacle of human cruelty as a function of time and space. Bela Tarr
uses it to convey the palpable sensations of a lived experience, one of
harsh, grueling exertion. Like the Jancsó scene, there’s a pendulum-like
rhythm to the camera movement as it moves back and both between two
poles of activity. Like Jancsó, though to a lesser degree, Tarr is able
to use off-screen space to economize activity: Notice how by the time
the camera returns to the house, the woman has almost finished packing
the wagon'.
A very clear explanation of how a rich, complex and articulate scene can be made lucid by extremely coherent planning of the focal length, rotation and x, y co-ordinates of the camera.
See video link towards the end of the article.
A very clear explanation of how a rich, complex and articulate scene can be made lucid by extremely coherent planning of the focal length, rotation and x, y co-ordinates of the camera.
See video link towards the end of the article.
