![]() ![]() There are many ways to communicate a relationship on screen: through dialogue, through lighting, through story structure-and also through the shots you choose. It becomes a textbook on how to balance and interweave interpersonal dynamics between two characters. In the case of Spider-Man 2, one of them is concealing everything and the other is concealing nothing. Or, of course, the relationship could be between two people. The relationship could be between an individual and the rest of society, as in Joel Schumacher's Falling Down. The relationship could be between a character and himself, as in the James Franco vehicle 127 Hours. Most good films are based, at some point in their structure, on relationships-whether in a recessed corner or right out on the surface. Extensive two-shots in 'Spider-Man 2' show the shifting, ahem, web of relationships.
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