Film critic hulk gives a master class in Cinematography by raging against Les Mis (1 Viewer)

BUT WHAT A DIRECTOR OR CINEMATOGRAPHER DOES THAT IS TRULY REMARKABLE AND KIND OF LIKE ROCKET SCIENCE IS TO USE THESE BASICS TO THEIR ADVANTAGE TO CRAFT MOMENTS. LIKE HOW EISENSTEIN DISCOVERED STORY VIA EDIT, YOU CAN CREATE STORY VIA CAMERA INFORMATION. GREAT DIRECTORS MAKE YOU FEEL ONE WAY AND THEN PUSH YOU IN ANOTHER DIRECTION WITH THAT BASIC LANGUAGE. FOR INSTANCE, IF YOU'RE WATCHING A SCENE WHERE THINGS ARE STILL FOR A PERIOD OF TIME AND SUDDENLY THE CAMERA IS HAND-HELD AND SHAKY, IT GIVES THE AUDIENCE A WORRIED FEELING THAT SOMETHING BAD IS ABOUT TO HAPPEN. OR YOU CAN EVEN USE THE EXACT OPPOSITE TO THE SAME EFFECT, WHERE A CHARACTER WILL BE IN MOTION AND WE'LL BE COMFORTABLE WITH IT AND ALL OF A SUDDEN THINGS MAY GET RATHER STILL AND QUIET. WE'LL PAUSE WITH THEM AND FEEL UNNERVED THAT THINGS ARE PROGRESSING IN THE SAME WAY. CINEMA IS A LANGUAGE AND THE WAY WE USE IT, INVERT IT AND COMMUNICATE WITH IT IS EVERYTHING. AND WITH THAT UNDERSTANDING YOU CAN STRETCH THE LIMITS OF CINEMA, TEST THE BOUNDARIES OF ART AND JUXTAPOSE STORY AND MEANING AND THEMES AND SYMBOLS AND SHAPE OUR EXPERIENCE IN THE NAME OF SOMETHING BETTER. TO OUR HIGHEST POSSIBLE SELVES. BUT THE BASICS HAVE BEEN, ARE AND WILL ALWAYS BE THE FOUNDATION OF HOW WE GET THERE.

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