American Cinematographer - February 1990 - 55

keeps the character juxtaposed
with that background, that periph¬
ery. Hopefully we're aware of that
lack of privacy, but in the same
way the character is aware of it. So
in a way, you could say it's a psy¬
chological POV shot. It's an at¬
tempt to position the viewer into
the psychological reality of the
character, not just the visual real¬
ity."
Examination of one par¬
ticular episode in the film reveals
another example of the personal
dilemma of survival; it also serves
as a good window on Clark's
physical approach to communicat¬
ing these dilemmas - the thought
process behind staging, composi¬
tion, lighting and focal length.

Clark raises

some

unconventional

questions about the traditional use
of closeup at the height of a scene's
intensity.

SOUTHEAST

NORTHEAST

FTC/ORLANDO

FLYING TIGER COMMUNICATIONS

Kirsten Fisher

Jennifer Dion

He describes the scene:
"For the prisoners, work¬

ing barefoot is impossible in freez¬
ing temperatures, even with rags
on
your feet - so it's like a death
warrant if you lose your clogs. To
steal somebody's clogs is a very
serious issue. Elena, Allegra's sis¬
ter, wakes up to find that her clogs
are
missing.
"They desperately try to
find out what happened to these
clogs - it's a very moving, touch¬
ing scene. They ask around, and no
one will
initially say. She starts
offering bread for information -
there's a whole bartering thing
going on, and offering extra food
is like offering a wad of $100 bills.
This all played with selected
angles which keep their desperate
presence foregrounded in an en¬
semble situation. All the people are
interacting with them, so you get
the dynamic, and the moment is
very alive and electric because we
keep that context there.
"Allegra and Elena merge
into a foreground position, which
maintains intensity. They could
even be
coming into a closeup, but
we

503 W. Robinson

155 W. 18th

Street, NY, NY 10011

PH: 212/929/1156

FX: 212/633/2301

Street, Orlando, FL 32802

PH: 407/422/8246

FX: 407/843/0738

didn't want to lose those other

people - the suspects and the
possible informants. We keep that
context there. When you do go to
the reverse, it automatically be¬
comes a

sisters

POV

shot, because the

longer in it.
"This is something that
we've been experimenting with in
are no

last two films, Extremities and
Dominick and Eugene - the looks

our

that

come

camera

to

just close enough to the
give the power of the

I would

Primo

hesitate to use the
in lieu of primes."

never

zoom

VIS IO N ARIE S choose
TWO JAKES

-PA NA VISION
CAMERAS & LENSES



American Cinematographer - February 1990

Table of Contents for the Digital Edition of American Cinematographer - February 1990

American Cinematographer - February 1990 - 1
American Cinematographer - February 1990 - 2
American Cinematographer - February 1990 - 3
American Cinematographer - February 1990 - 4
American Cinematographer - February 1990 - 5
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American Cinematographer - February 1990 - 92
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