Don't forget Hugo Friedhofer's score. Despite its quotidian detail and
contemporary tensions, those swelling strings are never far away...
Richard
On Tue, January 25, 2011 17:05, Henry M. Taylor wrote:
> One might also add the aspect of restraint. It is precisely through
> restraint that BEST YEARS achieves the biggest and most effective
> tear-jerk effects, and precisely because they do not seem to be contrived
> (through editing), but seem to impose themselves naturally. Having said
> this, deep-focus/deep staging requires far MORE directorial control than
> would be the case with analytical editing.
>
> H
>
>
>
>
>
>> Exactly, in preserving the spatio-temporal dimensions of quotidien
>> experience it is both more subtle and more realistic.
>>
>> See also the marriage ceremony at the end of The Best Years of Our
>> Lives.
>>
>>
>> Richard
>>
>>
>> On Tue, January 25, 2011 13:54, Frank, Michael wrote:
>>
>>> everything said so far seems to me right on target, but it leaves out
>>> one characteristic of staging in deep space that i think may have been
>>> overlooked, or maybe just so taken for granted that it's not been
>>> articulated . . . note, for example, that henry taylor, discussing
>>> one scene in *Best Years of Our Lives* says that it's "poignant moment
>>> which could not have achieved quite the same effect if the scene had
>>> been divided up into separate shots." . . . but he doesn't explain WHY
>>> presenting this material via editing would be less poignant . . .
>>> and this is a question that i think andre bazin addresses . . . the
>>> argument is that when the scene is staged in deep space [using deep
>>> focus cinematography] it replicates real human perception in which the
>>> viewer has to search out the salient details of a mise-en-scene, and
>>> avoids the excessive rhetorical push - the elbow in the ribs , as it
>>> were - of the director saying, "hey, notice this" - - - and that when
>>> that directorial intrusion on our discovery of meaning is avoided, the
>>> result is - let's say - better
>>>
>>>
>>>
>
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