{"id":340326,"date":"2024-05-22T15:02:00","date_gmt":"2024-05-22T13:02:00","guid":{"rendered":"https:\/\/www.cined.com\/?p=340326"},"modified":"2024-05-23T16:00:09","modified_gmt":"2024-05-23T14:00:09","slug":"the-filmmakers-voice-mastering-narrative-perspective-and-related-camera-techniques","status":"publish","type":"post","link":"https:\/\/staging.cined.dev\/jp\/the-filmmakers-voice-mastering-narrative-perspective-and-related-camera-techniques\/","title":{"rendered":"\u6620\u753b\u76e3\u7763\u306e\u58f0 – \u7269\u8a9e\u306e\u8996\u70b9\u3068\u95a2\u9023\u3059\u308b\u30ab\u30e1\u30e9\u30c6\u30af\u30cb\u30c3\u30af\u3092\u30de\u30b9\u30bf\u30fc\u3059\u308b"},"content":{"rendered":"\n

The annual Festival de Cannes<\/a> is in full swing. As usual, in the official selection, we can see everything from directorial debuts (for example, the coming-of-age drama \u201cWild Diamond<\/a>\u201d by Agathe Riedinger) to loud comebacks (like \u201cMegalopolis<\/a>\u201d by Francis Ford Coppola, his longtime passion project). The range and variety of films presented at the festival bring us back to the topic of the filmmaker\u2019s voice. We tell stories differently and that’s what keeps the motion picture’s heart beating. How can you develop your voice and what does the term \u201cnarrative perspective\u201d have to do with it? Let\u2019s find out!<\/strong><\/p><340326-inline-buylinks\/>\n\n

Every director has a different signature (which can change from one work to another). We see it in lens preferences, defined camera movements, lighting approach, and much more. However, as seasoned filmmaker and educator Tal Lazar<\/a> points out in his MZed course \u201cCinematography for Directors\u201d<\/a>: most if not all of these visual choices are connected to narrative perspective. What does it mean, though? Below, we peek into some of Tal\u2019s lessons that not only define this term but also explain how to use narrative perspective as your own wizard\u2019s wand. Some exciting film examples are also waiting ahead!<\/p>\n\n

Head over here to watch the entire course.<\/a><\/p>\n\n

What is the narrative perspective?<\/h2>\n\n

Stories always have someone who tells them \u2013 the so-called narrator. From classic literature, we know that there are different narrative modes. Either the main characters show us around themselves (and then we get the \u201cI woke up at dawn\u201d type of lines), or the story is told from the third person perspective (\u201cShe woke up at dawn\u201d). The latter is divided into \u201crestricted\u201d (when the narrator stays objective and cannot get into the character\u2019s head) and \u201csubjective\u201d (someone like the all-knowing god). The question is: can we also use these narrative modes in movies? Tal Lazar explains that yes, we can, but not always in the literal sense.<\/p>\n\n

\"narrative
A film still from \u201cDr. Jekyll and Mr. Hyde\u201d by Victor Fleming, 1941<\/figcaption><\/figure>\n\n

This is a point-of-view shot from \u201cDr. Jekyll and Mr. Hyde\u201d, where we see everything through the protagonist\u2019s eyes. It can\u2019t get any closer to the story, written from a first-person perspective, can it? Well, it doesn\u2019t necessarily work this way. As Tal Lazar emphasizes, to make a narration feel subjective, the viewers should be able to access the character\u2019s thoughts and feelings, which is rather difficult when you don\u2019t see the actor\u2019s face. There are other tricks to achieve it, and we\u2019ll talk about them in a moment.<\/p><340326-mzed-course\/>\n\n

Objective and subjective<\/h2>\n\n

But first, let\u2019s draw the line between objective and subjective narrative perspectives.\u00a0<\/p>\n\n

As already mentioned, subjectivity allows us \u2013 filmmakers \u2013 to express the inner voice of the character. Using it, the audience immerse themselves in their experience, feel what they\u2019re feeling, and emotionally connect. What\u2019s exciting is that we don\u2019t need any words for that. In numerous cases, the reaction shots<\/a> will tell you much more than the action or dialogue.<\/p>\n\n

Objectivity, on the other hand, lets the viewers observe the characters from afar and communicates the context. Sometimes, it means we get to know an important bit of the story the characters are unaware of. Do you remember the legendary opening scene from \u201cTouch of Evil<\/a>\u201d with the bomb in the trunk? That\u2019s a perfect example of using an objective narrative perspective in a powerful way:<\/p>\n\n

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