Camera Movement And Cinematic Space Analysis

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The first article I am using as a reference in my research comes from Cine-Tracts, A Journal of Film, Communications, Culture and Politics. Written by film theorist David Bordwell, “Camera Movement and Cinematic Space” brings forth a close examination of the functions of camera movement in cinematic representation using a perceptual approach. He describes movement in cinematic space as a cinematic process, which seeks “systematically to station the viewer as subject before an idealized, objectified representation.” This is also the issue he uses in his approach, as this representation is used within contemporary film and is essential to understanding how viewers understand pictorial codes and depth within camera movement that explores this …show more content…
Bordwell analyzes one camera movement that I would like to focus on in my thesis; the dolly, also known as the tracking shot. This movement is represented by kinetic depth, defining space through the traveling shot as the camera is mounted on a wheeled platform, most commonly pushed along tracks. Bordwell defines this as “the ability of subjective movement to endow static arrays with depth” (Bordwell, 1977). This specific camera movement, whether it be smooth horizontal movement or push into the scene, helps the viewer perceive depth within a 2D image but also provides us with pictorial codes “to help efface the image surface and push us toward reading the picture as an imaginary space” (Bordwell, 1977). Bordwell refers to this as a scenography. By using cues we see during this type of camera expression, the effect of movement is more evident through passing objects. This movement, paired with all the possibilities of alternative movement (crane, vertical elevation, axis rotation, ect) can place the viewer in space and time that equals that of the camera and vision of the …show more content…
Experiments determined that the Steadicam initiated the strongest activation in the viewer 's motor cortex, which is necessary to stimulation of virtual presence of the viewer within the film through the capacity of the camera. Through the study and experimental trials, Gallese and Guerra come to the conclusion that “the relational nature of film style and cinematic intersubjectivity can be usefully investigated by focusing on viewers ' motor cognition implied by film techniques” (Gallese, Guerra 2014). The research conducted with neuroscience allows for study of action-perception links, as presented in this

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