Composition Rules & Surrealist Film
Looking into more of Dali's work in Berlin, I discovered a French silent film he collaborated on with director Luis Buñuel called 'Un Chien Andalou' (1929). I was intrigued by the idea of a surrealist artist putting his ideas into film and wanted to see if any of the elements I had been looking at came into play here, even when Dali was so against following 'the rules' of aesthetics. Interestingly, although the actual story line of the film was very odd, nothing like anything I have seen before, I did notice many uses of the frame that following the rules of a well composed mise-en-scene. Foreground, mid-ground and background are all well established, as well as close ups of characters to describe expression and dynamic use of the composition of a setting. I recorded the things that stood out to me most through drawing in my sketchbook.
Looking into more of Dali's work in Berlin, I discovered a French silent film he collaborated on with director Luis Buñuel called 'Un Chien Andalou' (1929). I was intrigued by the idea of a surrealist artist putting his ideas into film and wanted to see if any of the elements I had been looking at came into play here, even when Dali was so against following 'the rules' of aesthetics. Interestingly, although the actual story line of the film was very odd, nothing like anything I have seen before, I did notice many uses of the frame that following the rules of a well composed mise-en-scene. Foreground, mid-ground and background are all well established, as well as close ups of characters to describe expression and dynamic use of the composition of a setting. I recorded the things that stood out to me most through drawing in my sketchbook.
No comments:
Post a Comment