It is nearly unrivaled in its texture, its details, and its expansiveness. And, given that it so thoroughly encapsulates its gangster life-style and so methodically relates the lives of its gangster characters, it comes as no surprise then that, as part of such a system, it also covers territory always present explicitly or implicitly in the gangster crime film: These gangsters are, first and foremost, men, and as such they have quite distinct ideas of proper masculine behavior, attitudes, and inclinations.
Thursday, 25 October Martin Scorsese Camera Techniques Recently I have been watching some of the films I have spoken about so far, looking more closely at the cinematography. What already stands out to me is how Scorsese's style is so distinct he can convey it perfectly with numerous cinematographers.
Dolly-Zoom An in-camera effect Scorsese uses is the dolly-zoom, which gives the impression that the background is somehow changing in size. Here you can see that Robinson appears to stay the same size whilst the background moves further away. This would have been achieved by moving the camera away from Robinson whilst simultaneously zooming in on the subject.
The result gives a disorientated feel which puts the audience into the headspace of the severely beaten LaMotta. Additionally if you were to move the camera closer whilst zooming, the subject would stay the same whilst the background would become more dominant.
Though this can be seen as a gimmick, I'll be using this technique in the same way Scorsese does, subtle. The operator of this camera was steadicam inventor Garrett Brown and what I particular love about this is the shot goes from close ups to wide shots, in front of Jake to behind Jake and then finally craning over the entire scene.
Just on paper this sounds like a very challenging shot however the payoff is amazing as the atmosphere is all captured on film. Though difficult I aim to recreate a similar long shot. Pull Focus Pulling focus is one of my favourite camera techniques, as it highlights the importance of what is being shown on screen.
Similar to the a 'steadicam one shot' the more subtle it is done the better, in my opinion. No doubt a 1st assistant camera man would have acted as a focus puller to achieve this shot.
It is possible for a Canon d to pull focus from one depth to another though I suspect to get the same shot Richardson achieved here I will have to buy an extension. Definitely worth it though. Bokeh As many will know bokeh refers to the lighting in an image which is out of focus.
The footage has been slow downed making the lights appear even more blurred. What I especially like about the bokeh in these two films is that the lights are moving which makes it more visually interesting.
This is something I will attempt to replicate in my assignment. Conclusion All of these examples are just some of the techniques I enjoy from Scorsese. My style will therefore be similar to Scorsese's.Martin Scorsese received the honorary Carrosse d'Or award at the 50th Directors' Fortnight, which also screened a restoration of "Mean Streets." Continue reading → .
Film Analysis of Martin Scorsese’s ‘Mean Streets’ Mean Streets is the first most significant feature film by Scorsese. The film’s storyline is about some friends growing up in a New York City section (Little Italy) during the s.
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an analysis of the film good fellas by martin scocese the movie excites the senses in a way few film-makers an analysis of education in north american even. Oct 19, · Cinematography in GoodFellas () Directed by Martin Scorsese Camera Shots.
Extreme Close-Up. Conway Currency: Money. Money plays a big part in GoodFellas; it’s a silent character, present in all scenes, propelling the narrative.
It's also for comedic effect, seeing as the film was made in the s - everything about her. Similarly, Scorsese who was greatly influenced by Hitchcock used these techniques in his film, especially for editing.
Over the years, Scorsese's usage of pure cinema techniques have made his movies a unique experience and engaged audiences in a great way.