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Film

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File: 1445124624559.gif (19.41 KB,220x156,55:39,ZRsgjY.gif)

 No.6021

For me, is the fade away. It is useless. Other than expressing a relation of brief temporal/spatial shift between a two determined events (A and B) it is succintly limited and archaic as a form of communicating ideas.

A fade away inside the current filmic system is bound to failure. A modern hollywood film averages 2000-3000 cuts. In this case a fade might even break a film's diegetic reality.

A filmmaker that indulges with this technique is deriding the medium, attempting to prove something by asserting a domain of montage which he clearly does not retain. Thus the use of this technique should be energetically disencouraged.

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 No.6024

I guess. It does seem to have been almost completely phased out over the years though

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 No.6025

> dramatic verbal buildup

> cut to black to emphasize a short snippet of dialogue

> resumes

It's horrendously abused in film trailers and killed The Drop Box for me: the film was competently shot otherwise and would have been tolerable if they didn't repeatedly blank the screen in the middle of the movie, kind of misses its intended use as a form of extreme emphasis when you're using it every couple minutes for random sentences.

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 No.6026

> Outdated film tecniques

Using actual film (unfortunately)

I can only think of old trends that flamed out. For a while in the 1960's any kind of sped up action (often with people running around) was considered comedy gold. Meh.

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 No.6027

>>6026

Sped-up action was used quite effectively at times though, perhaps because it had become a trope already. One example would be the bedroom scene in A Clockwork Orange. I also think it's acceptable if it's used to compress time with the intent of making you aware how long something is taking from the character's perspective, yet not boring you to death with the pacing.

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 No.6053

File: 1445355753089.jpg (42.68 KB,345x400,69:80,hrusinsky_rudolf.jpg)

Outdated or not, I wish closeups were used much more sparingly. If there's only one or two per film suddenly the closeup has more power.

I guess actors want to be seen and audiences want to see them. But it's not very interesting to look at one face, then another, then back ... continuously. There are many other unique things to do with visual composition. I'm hoping larger TV screens help trend away from this overused shooting style.

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 No.6056

>>6053

that's just lazy 'talking head' technique. i think that's been pretty constantly present in films where the creators don't really care that much about being 'artistic' or whatever

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 No.6057

>>6053

Agree with this 100%. Taking away other character's reactions to the conversation and their environment removes complexity and creates boring scenes.

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 No.6059

>>6053

I think the close up can be used quite well, like that one in one flew over the cuckoo's nest where the camera just seemed to linger on nicholson's face for what seemed like an eternity.

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 No.6062

>>6053

Close-ups can be very effective when combined with a good work on the montage. I agree with you though, today filmmakers are more focused on using it as a quick and cheap method of building up tension rather than forming a coherent filmic language.

Truth is, they pander to the short span of modern masses. This generation of mainstrean moviegoers grew up watching television and video entertainment - bad entertainment - more than any other, and this fact unfortunately reflects on the overall state of cinema today. It's quite sad.

Well, anyway, I prefer a tracking shot with a precise and dynamic blocking rather than an abrupt zoom in a subject. Of course that's just me.

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