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To start out, I've missed a lot of pieces of this film due to leadership meetings and visits to the career center; therefore, there is much of the film I haven't viewed yet. From what I've seen so far in John Ford's Stagecoach, the camera angles in this film intrigue me. I enjoy the fact that cinematographer Bert Glennon broke away from the typical 180 degree rule. During the chase scene it would flip between the characters moving from right to left, then to them moving left to right. Though it may seem to a film critic extremely obvious, to a typical movie-goer like me, it isn't very noticeable. Glennon also uses the authorial and non authorial lens to make certain characters look more dominant or visa-versa. The men are usually the prominent ones while the ladies are viewed as the meeker characters. Another camera angle that drew my attention was when the camera shoots a deep focus shot of the Indians in the foreground and the stagecoach in the background. It depicts the fact that they are far away from each other and the people in the stagecoach have no idea what's coming. Overall, Glennon does a great job with finding the right camera angle, along with the lighting which I didn't touch on. Due to the action in this film, the discontinuity in the editing is not noticeable while watching and doesn’t affect the outcome of the film.
Wednesday, October 10, 2007
John Wayne Y'all
To start out, I've missed a lot of pieces of this film due to leadership meetings and visits to the career center; therefore, there is much of the film I haven't viewed yet. From what I've seen so far in John Ford's Stagecoach, the camera angles in this film intrigue me. I enjoy the fact that cinematographer Bert Glennon broke away from the typical 180 degree rule. During the chase scene it would flip between the characters moving from right to left, then to them moving left to right. Though it may seem to a film critic extremely obvious, to a typical movie-goer like me, it isn't very noticeable. Glennon also uses the authorial and non authorial lens to make certain characters look more dominant or visa-versa. The men are usually the prominent ones while the ladies are viewed as the meeker characters. Another camera angle that drew my attention was when the camera shoots a deep focus shot of the Indians in the foreground and the stagecoach in the background. It depicts the fact that they are far away from each other and the people in the stagecoach have no idea what's coming. Overall, Glennon does a great job with finding the right camera angle, along with the lighting which I didn't touch on. Due to the action in this film, the discontinuity in the editing is not noticeable while watching and doesn’t affect the outcome of the film.
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4 comments:
It seems weird that we are repeatedly told about the 180 degree rule, how it makes movie watching appear fake and out of the scene, and yet when we are shown a blatant violation of this nobody in our class spoke up. The deep focus lens in this was cool too, it definitely proves what Welles used when "Stagecoach" became his model movie for "Citizen Kane".
From not seeing much of the film, this blog was very nicely put together. Random comment about the 18☺ rule: I was wathcing football the other day and though "If the cameras switched sides, it would make things very complicated." Anyways, good job on the blog
Even tho you havent seen the whole movie i thought your post did a very accurate description of the camera angles. I feel the same on the 180 rule, it didn't confuse me none the less anyone else around me. I think the authorial and non authorial lens does bring out more of a western feeling to it because in those days woman weren't looked at with a lot of importance. Good work on the post
First off you did a great job describing the cinematic elements of this movie. I would like to know more about the movie though since I haven't seen it. It's interesting that you noticed the breaking of the 180 degree rule and the deep focus. It sounds like the cinematography team did a great job.
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