Two images that really struck me as being the most powerful out of the ones at the bottom were 1. The man’s reflection in the mirror image and 2. The women grabbing her shoes and the shot is from under the bed. I feel like in this movie, the visual storytelling was all from the outside’s perspective. All that was being narrated was being narrated from our perspective, as the audience. As she grabbed her shoes, we could see as if we were spying on her. The same with the reflection. We were looking at him from behind just like in scary movies when the guy looks in the mirror and sees the reflection of a murderer or someone in the mirror, you expect them to show someone looking in the mirror at him but then you realize that person is you, the viewer. They are the most powerful because it really helps to demonstrate the sense of voyeurism. As for the connections? Sure, there are connections. With or without sound, this sense of voyeurism would still be present. We feel as if we are peering into their lives just as they feel they have to peer into their spouses because they are cheating. We get a sense of what they are going through which can be delivered with or without sound. We can appreciate the cinematography in that aspect. We clearly feel the way we do throughout the film because of the camera angles and proxemics so sound is not super necessary. We still have the same feeling that we do.
Monday, December 6, 2010
In The Mood For Love - Parker Sealy
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Interesting comments here, Parker. I wonder if we can look at these two images and think as well about their qualities of isolation, or their appreciaton of the isolated gesture, for example. Just as the shot with the mirror is a portrait of Tony Leung in two parts, which is further complicated by the dooly move that reveals an additional facet, the film itself seems to be a faceted construction, almost a kind of object rather than a story, signifying a kind of love.
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