One should also mention that deep-focus/deep staging allows for dramatic irony through contrasting foreground and background action. Think of Gregg Toland's famous shot in Wyler's The Best Years of Our Lives where the Fredric March character in the foreground listens to the disabled Harold Russell character cheerfully playing the piano in the right foreground, while looking to the left background, where, as he both sees and knows, the Dana Andrews character makes a phone call to call off his relationship with 'Teresa Wright'. It's an extremely poignant moment which could not have achieved quite the same effect if the scene had been divided up into separate shots.
H
Am 25.01.2011 um 04:43 schrieb Haukur Már Helgason:
> Thank you all. That's pretty much what I already had in mind, though I
> look forward to looking at the Renoir tipped above. Simply because of
> its frequent mentioning, and the repeated emphasis on the significance
> of the employment of deep focus, I feared I had missed out on
> something more … I don't know what even. More elaborate in some way.
> Of course Deleuze conceptualizes it further, as I guess more others
> do, but I'm relieved to realize that in terms of the elementary 'thing
> itself' – if such a phrase can be applied to anything cinematic – it's
> just that. More information crammed in less time, and ways to exploit
> that possibility. But please keep on posting if you want to correct
> that phrasing or add anything to it.
>
> H.
>
>
>
>
>
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