Can a Film have ZERO Close Ups?
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- Опубліковано 2 чер 2024
- Why Can't Film Directors Not Use Close-Ups?
Close-ups are an essential tool in the arsenal of any filmmaker. They offer a way to convey emotion, detail, and nuance that wide shots simply cannot match. The question of why film directors can't avoid using close-ups delves into the very nature of visual storytelling and the impact that this technique has on the audience's connection to the characters and the narrative.
Emotional Connection
One of the primary reasons directors rely on close-ups is to forge an emotional connection between the audience and the characters. When a character's face fills the screen, viewers can see every flicker of emotion, every subtle change in expression. This intimacy allows the audience to experience the character's feelings more directly and powerfully. Close-ups can convey fear, joy, sadness, and a myriad of other emotions in a way that no other shot can.
Highlighting Detail
Close-ups are invaluable for highlighting important details that might be lost in wider shots. This could be a critical piece of evidence in a mystery film, the intricate workings of a gadget in a sci-fi movie, or the fine details of a costume in a period drama. By focusing on these elements, directors can draw the audience's attention to something that is crucial to the plot or to the atmosphere of the scene.
Enhancing Drama and Tension
Close-ups are also instrumental in building drama and tension. When the camera zooms in on a character's eyes during a tense moment, it can amplify the suspense and anticipation felt by the audience. This technique is especially prevalent in thrillers and horror movies, where the director wants to keep the viewers on the edge of their seats. The close-up can create a claustrophobic feeling, making the audience feel as if they are right there in the scene with the character, experiencing the tension firsthand.
Showcasing Performance
Actors' performances are often most powerful when seen up close. A well-executed close-up can showcase an actor's skill and bring out the nuances of their performance. Directors use close-ups to capture moments of great acting that might otherwise go unnoticed. These shots can become iconic, etching the actor's performance into the audience's memory.
Storytelling and Symbolism
Close-ups can also be used to convey deeper meanings and symbolism. By focusing on a specific object or facial expression, directors can add layers of meaning to the narrative. For instance, a close-up of a character's hands might reveal nervousness, strength, or a hidden intention. These visual cues can be a powerful storytelling device, adding depth to the film without the need for dialogue.
Varied Pacing and Visual Interest
Using close-ups allows directors to vary the pacing of a film and keep the visual composition interesting. A series of wide shots can become monotonous, but interspersing them with close-ups creates a dynamic visual rhythm. This variety can help maintain the audience's attention and keep them engaged with the story.
Conclusion
In conclusion, close-ups are an indispensable part of filmmaking. They enable directors to convey emotion, highlight important details, enhance drama, showcase performances, and add symbolic depth to their films. While it might be theoretically possible to make a film without close-ups, doing so would limit the director's ability to connect with the audience on a deep emotional level and to tell a rich, nuanced story. Close-ups are a powerful tool that, when used effectively, can elevate a film from merely good to truly memorable.
That is the general theory.
As Robby Müller, one of the greates cameraman (R.I.P.) said: "A close up is like a special effect. If you use it to much it gets boring."
That's where we are today regarding close-ups.
These days close ups are not used for any storytelling purpose but for lazy editing and asscrab camera movement.
Instead of creating a real scene, patchwork camera shots are used to fix the story in the editing room - infamously called editing shots aka "Just in case we totally suck we can use the close ups for editing."
Goes for everything. Just take a look at "shaky cam".
When Kinji Fukasaku used the "shaky cam" look in the 1970s in his masterpiece series "Battles without honor and humanity" aka "The Yakuza Papers" you'll hardly see any close ups and yet you are not just thrown into the action becoming a part of the adrenalin rush while at the same time not loosing sight of what is going on. These days shaky cam is used to cover up lousy made fight scenes, lack of effects or unpolished sequences. That's why you see close ups in B-movies a lot because they don't have the time/money for a more sophisticated shot.
Another reason why moviemaking became uninventive these days is "This is how you do it" teaching. Just take a look on UA-cam with all the wise guys (Wolfcrow not included) who tell you just the same crap that is told in EVERY filmschool/lesson book about filmmaking.
Piotr Szulkin made a movie in which he doubled frames to make movement look weired. A release company changed that back because they thought it was a mistake. How do you see art if you untrain to see art by just learning the standard.
Fact is: EVERY basic filmtechnique was developed by people who never saw a film school or read a book about film making .... period!
Fact is: EVERY new film technique was introduced by people who gave less then crap about "how you make a movie".
That's why I consider Quentin Tarantino nothing but a big mouth who makes THE most expensive C-movies in the history of film making.
PS: Standard, a definition: That what everyone else is doing.
"wolfcrow" is literally a film school on UA-cam who is giving decades of lessons for free. I love your explanation man.
You're talking about it from a distance, as if through the 2D frame. The camera moves through scenes post-Citizen Kane so we can map out the space of the experience in our minds like a scene in a dream. Movies are just dreams that don't face us.
It's not boundary extension, it's that at that moment, that's where the STORY GOES. If you're not following the story or not invested in it, a close-up won't have the power that you're talking about.
Wolfcrow I’ve been following you for years on YT. You explain ideas and concepts in such an engaging and inspiring way! I always look forward to your videos.
Thank you!
In a sense we do look at people closeup. Although our filed of vision is relatively large and doesn't physically change, our attention is constantly zooming, panning, refocusing, having an effect similar to what is done with cameras.
Love your content. Education beyond the degree.
I appreciate that!
This is amazing - Thank you for this ☀️I love close-ups ☀️ the closeups I remember most, are from E.T. When Spielberg moves the camera onto the younger characters to home-in on the emotions. Particularly in the emotional scenes, and the BMX chase scenes. That’s my favourite movie of all time.
You’re welcome!
The closeup is a product of the television production aesthetic.
Used also in Silent movies as an emotive technique as well.
TV turned it into an unnecessary bore in cinema.
There is a great video around about how scenes in I Claudius are blocked to utilize multiple camera angles and actor positions in a single shot. That is mastery.
Closeups are lazy directing.
Close ups in a movie like Come See show why they are important. In television we must recall that most of it was produced prior to gigantic televisions in people's living rooms, screens were small.
@thedarkpassenger9 I never said a movie doesn't need closeups, ffs.
Read for comprehension, before you fire off nonsense.
And if you watch A LOT of Mankiewicz, he wasn't a slave to a closeup.
If you can't differentiated the directing style that brought about things like All About Eve and Letter to Three Wives with some Hallmark schlock, you probably should take up needlepoint.
But god forbid you try to understand blocking and subtler forms of directing besides the Star Trek IN Your Face close up.
Yikes.
I appreciate all the effort you put into these. I learn a TON!
Thank you!
Always such interesting insights. Thanks.
You’re welcome!
thanks man ❤ can you explain other shots in ur next videos 😺
Ur videos reaffirms education and experience. ❤❤
There is no greater special effect in cinematic history than the human face. _Period!_
As a filmmaker I almost never cut in and prefer to do medium close shots, only now after working for some time that I realize it’s because you need to earn the close up both for the director and the actor. A mark of a bad movie is one the uses close ups just as a coverage shot.
Kindly list out films, it would be helpful for us.
Increases character development. Thanks
Actually not. I disagree with that.
Split focus spotted!
Thanks
Welcome
The Passion of Joan of Arc.
You should provide a list of all films you borrow shots from, or include the names on screen. It's the ethical thing to do.
So basic