Low-angle shots of the rain lashing unforgivingly to convey gloom. Long shots of the dilapidated city gate to convey that something untoward has occurred. The play of sunlight and shade through the leaf canopy to convey the unreliability of every character. Long, wordless sequences of the camera tracking alongside characters, making the scene grow more and more pregnant with every second, making you ache impatiently for a truth that refuses to crown. That is how Kazuo Miyagawa added magic to Rashomon with his camera work.

The blue tint in almost every scene is how Ravi K. Chandran conveyed the director's vision that Dil Chahta Hai was a movie about emotional discovery and coming-of-age.

Close-up shots of the character Devindra Dhillon, with the camera fastened to the waist of the actor, making the viewer dizzy from his wayward walk is how Rajeev Ravi conveyed the drunkenness of Dev.D.

Cinematography is a subtle art. It can do more than merely being the technological means for capturing a scene. With a good cinematographer, a scene can enrich the story. With a great one, it can BE the story.

Let us meet online on Sunday, May 31 at 4 PM for the next session of Dialogues with Cinema and share with each other examples of great Cinematographic Storytelling. Let us share video clips of brilliant camera work and unspoken storytelling. The session will be hosted by Mandar R. Mutalikdesai.

IMPORTANT:

Limited slots available so register soon and we'll save you a spot!

Please note that you will receive the link of the session via email. If, for some reason, you fail to receive the email please get in touch with us on team@dialogues.space or call us on +916361358825 and we will send the invite to you again. 

P.S. Do check your Spam or Promotion Tab and drag them to the inbox so you will receive all our future invites in your inbox.