“a window to a world”

Having watched the Lumiere and Company’s short film collection an interesting issue was brought to my attention. I became merely interested in the way all respected filmmakers signature aesthetic became obvious when creativity was restricted by limitations while working with the first motion picture camera. The differences between directing, storylines, and plots were apparent based on each director’s unique sense of style and editing.

Furthermore, the use of cinematograph in relation to each story has been remarkable. For example, some directors such as Claude Lelouch and Yusef Shahin chose to merge their plots with the age of the Lumiere camera, and purposely send the audience back to a different era.

Only after few times watching the short films and trying to distance myself from the plot I could appreciate key elements of these stories. Having watched movies from an early age it was interesting to view these works of art from a critical point of view. Simultanously,  I started to appreciate how some of these charachters were closely aligned with the viewers experience even with the time, set, light and prop restrictions . I was able to slowly dissect the movies and conclude its characteristics based on the term “frame”. The symbolic term “Cinema as window and frame” became more detectible. At certain moments through the viewing I decided not to watch my screen and allow the sound effects unfold the stories. By doing so it was clear that minimal character development were an allegory. For instance, some stories contained dynamic between the characters while others were based on daily routines.

However, I did find two directors that raised my awareness, Raymond Depardon and Jacques Rivette. In both cases they highlighted the innocence of children playfully singing in French. Having the elements of foreign setting and language these plots became visually encrypted stories.




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