Contrary to other artistic strands, film-making and photography rely heavily on found imagery (especially in the form of found spaces) for its content to be set in. A painting is inherently wholly artificial as the painter creates the backdrop and all the fictional space for the content to be set in, including the characters.
Hence, compositional principles can effortlessly be included in the set-up of the conceived work. On the other hand, found objects only began to be considered as artistic when they were endowed by an added layer of meaning. This is either by some sort of rationale (as with the case of Duchamp’s Fountain) or through consequential ordering (as shown by the Qatsi film trilogy).
In films individual shots are occasionally framed so as to accentuate a specific point or relation. Very rarely, however, sequences (and entire backdrops/sets) will be crafted with compositional balance in mind, so as to coincide with the storytelling. When such a union occurs the results can be impressive and used effectively as a tool for enriched storytelling, as pointed out by the case studies.
Hero: the solitude of the Individual and the might of the Emperor
da se mi komentirat, da se mi ne da ne brat ne sestra :)
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