Two of the most stylized shots in cinema-the close-up and the long shot-embody distinct attractions. The iconicity of the close-up magnifies the affective power of faces and elevates film to the discourse of art. The depth of the long shot, in contrast, indexes the facts of life…
The Close-up of Mo Yan and Zhang Yimou: Face and Text in Red Sorghum -- The Art of the Close-up in Lust, Caution: Ang Lee and Eileen Chang -- Philosophy of the Long Shot in Hou Hsiao-hsien's The Assassin -- The Back Shot in Jia Zhangke's I Wish I Knew -- Between Close-ups and Lo…
"Two of the most stylized shots in cinema-the close-up and the long shot-embody distinct attractions. The iconicity of the close-up magnifies the affective power of faces and elevates film to the discourse of art. The depth of the long shot, in contrast, indexes the facts of lif…
"Two of the most stylized shots in cinema-the close-up and the long shot-embody distinct attractions. The iconicity of the close-up magnifies the affective power of faces and elevates film to the discourse of art. The depth of the long shot, in contrast, indexes the facts of lif…
"Two of the most stylized shots in cinema-the close-up and the long shot-embody distinct attractions. The iconicity of the close-up magnifies the affective power of faces and elevates film to the discourse of art. The depth of the long shot, in contrast, indexes the facts of lif…