The semantics of absence

A subtractive and additive approach to cinematic framing

 

“It is a process of getting rid of what you don’t need. It is subtractive at first.” - Michael Krichman

 

“We are adding what we subtract - creating a structure for the image. The relationship with the environment is as important as what is in the frame. The subject. The close up.“

-Alexej

 

Here I have gathered some references, where I have had a centripetal experience due to the use of subtractive and additive framing.

RHYTHM, TIME, THE LONG TAKE AND FEELING AS ONE WITH ENVIRONMENT

 

At night I fly (2011)

The scene ca. 6.00-9.00.

 

Director: Michel Wenzer

Cinematographer: Albin Biblom, ... 

BLOCKING, STAYING WITH THE PERIFERAL AND REFRAMING

 

Leviathan(2014)

 

Cinematographer: Michail Krichman

Director: Andrej Zvjagintsev

 

THE PRESENCE AND SPONTANEITY OF THE CINEMATOGRAPHER

 

Whores´ glory (2007)

 

Cinematographer: Wolfgang Thaler

Director: Michael Glawogger

AN INTIMATE USE OF LONG FOCAL LENGTH

 

Le Fils (2002)

 

Cinematographer: Alain Marcoen

Director: Jean-Pierre Dardenne,

Luc Dardenne

NEGATIVE, POSITIVE SPACE AND SPEED

 

Soy Cuba (1964)

 

Cinematographer: Sergey Urusevsky

Director: Michail Kalatozov

 

ONE PART AS GIVING A FEEL TO THE WHOLE

 

Loveless (2017)

 

Cinematographer: Michail Krichman

Director: Andrej Zvjagintsev

 

FOLLOWING AND STAYING WITH THE FRAME

 

Lida (2017)

 

Director: Anna Eborn

Cinematgorapher: Kristoffer Jönsson m. fl.

THE SLOW REVEAL

 

Escape at Dannemora (2018)

 

Cinematographer: Jessica Lee Gagné

Director: Ben Stiller