Reverse Engineering the Cinematic language

smgI wanted to announce my plans for a series of editorials that I am dead set on putting together throughout my quest for truly grasping the language of cinema. It will essentially begin with analysis of every single shot in the entire cinematographical language; everything from an extreme close up to an extreme long shot.

Now you may ask, why do this if you can simply read the books on cinematography – well… because it will involve using shots from a plethora of various films; from avant garde, arthouse to a Hollywood blockbuster and analyzing them, trying to find the context, the link, using text from various books on cinematography to confirm the findings, etc. I’ll also try to cross-reference films, and images from those films that may have the same scenes or sequences but are utilized in different genres and see if there’s a reason for using a particular shot that goes beyond just the simple, standard rules. It’s quite ambitious, but I intend to take this on simply for myself – and because I also want to share what I’m learning with others, I believe it will benefit everyone here. I assume that readers of this blog are cinephiles and students of films, but I bet anyone who’s an established filmmaker with years of experience will find it interesting.


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