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Founded in 2003 / ISSN: 1696-019X / e-ISSN: 2386-3978 / Depósito Legal: M-5852-2003
DOI: 10.31921/doxacom
Issue number: 31, July-December 2020

Authors

Ana L. Cea Navas Universidad de Valladolid, España
anaisabel.cea@uva.es
Sergio García Rubio Universidad de Granada, España.
sergiogr97@correo.ugr.es
Title Study on the cinematographic image’s composition: frame, light, and colour as expressive elements in Roger Deakin’s work. Summary Cinema has become one of the most influential media in society since its origins in the 19th century for various reasons: its artistic-aesthetic, technical, narrative-communicative character, etc. In this sense, the Seventh Art has become a fundamentally creative and industrial cultural product that has evolved over the years. This study aims to address how the frames, light, and colour of the images that make up a film serve as expressive elements by considering the development and value of cinematography. To do this, this research analyses Roger Deakin’s film composition in four of his works: Fargo, The Man Who Wasn’t There, Sicario, and Blade Runner 2049. We also consider whether the cameraman has a defined style. At the same time, we intend to highlight the director of photography’s profession as the figure in charge of constructing the film narrative frame. Keywords Roger Deakins; director of photography; lighting; colour; frame.

 

doi: https://doi.org/10.31921/doxacom.n31a10

 

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