Figures traced in light: on cinematic staging 9780520241978

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FIGURES TRACED IN LIGHT

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so many details involved that most dinner-table scenes will contain mismatches.* “If you've got a lot of people around a table,” remarks Anna Campion, “it can honestly drive you mental.”°

The problems of matching eyelines, props, and movements are so great that contemporary filmmakers often take a different tack: filming the meal with a camera circling the table to pass from character to character at the proper moment. You might use rather lengthy arcing movements, as Woody Allen does in Hannah and Her Sisters (1985), or you might try for the sort of briefer moving shots that Quentin Tarantino uses in the opening of Reservoir Dogs (1994, Figs. 1.9-I.10). One contemporary directing manual recommends the circling camera as the best way to dodge the numerous matching problems

| raised by “the dinner-table conundrum.”® Yet, like all solutions, this one closes off other options. If you handle the conversation in lengthy spiraling shots, the pace of the scene can’t later be tightened or slowed by cutting. If you cut up the roaming shots, then the old difficulties of continuity reappear. Reservoir Dogs avoids some of these problems by tightly framing the gang members’ faces so that we can’t see the food on their plates, and their hands become visible only sporadically. Tarantino has explained that he used the moving camera so that “you don’t quite get a bearing on anybody, whos talking, who are these people, you're slightly confused.”’” In making these choices, however, he has relinquished actors’ byplay with food and drink, an important component of Ozu'’s and Minnelli’s scenes. Every choice eliminates certain possibilities. The dinner-table conundrum can stand as an emblem for many types of scenes. You face the same decisions if you're shooting a poker game, or a gang planning a heist, or officers in GHQ poring over a map of enemy territory, or mourners gathered around a grave. Whenever three or more characters surround a common site, the problems of staging and shooting and editing will be similar. To solve these problems, filmmakers have developed fairly standardized craft practices—stylistic routines that I’ll be calling schemas.®

Classical continuity filming provides two principal schemas: the silent-era approach emphasizing singles, and the more mixed sound-cinema strategy. The circular tracking shots now common for such scenes provide a third schema, also grounded in assumptions about spatial continuity.

4 STAGING AND STYLE |

Are these the only schemas available? Perhaps we passed over one option too quickly. Suppose we shot our dinner-table scene with a stationary camera, set somewhat back, in a single take, as in the South Korean film The Virgin Stripped Bare by Her Bachelors (a.k.a. Oh, Su-jeong! 2000). Our three main characters are at a drinking party, with everyone gathered around one low table. The entrepreneur Jae-hoon and the television director Yeong-su are both carrying on affairs with Yeong-su'’s assistant, Su-jeong. Late in the

evening we get a shot showing all three ranged along one side of the table, with another | woman in the left foreground and a young man turned from us in the right foreground (Fig. 1.11).

Director Hong Sang-soo presents the entire scene in an unmoving take lasting ninetysix seconds. He thereby forfeits the advantages of editing (tightening up the pace in postproduction, cutting to closer views to underscore a line or reaction) and camera movement (highlighting one reaction after another, “giving energy” to the scene). And although the composition turns two characters away from us, it favors three other figures rather , than only one, so Hong will have to rely almost entirely on ensemble performance. At the start of the scene the somewhat fussy Jae-hoon, who has invested in Yeong-su's film,

asks how preproduction is going, and the drunken Yeong-su replies sarcastically, “Oh, now youre interested in me>” (Fig. 1.12). Since the first part of the scene is about the two men’s disintegrating friendship, the composition gives them the privileged position, with Jae-hoon in the center of the frame and Yeong-su right beside him, facing us. Su-jeong becomes a secondary presence, her eyes lowered and her face shielded by strands of hair, but one can sense some embarrassment in her posture. Jae-hoon lowers his eyes before Yeong-su's onslaught, leaving Yeong-su the most visible face at the table. He demands that Su-jeong serve him, as if flaunting his power over her, and Jae-hoon quietly rises and leaves the table (Fig. 1.13). This is an attention-getting movement, centered in the frame and underscored by Yeong-su’s momentary lowering of his eyes. Su-jeong watches Jaehoon go out of frame, and the woman in the left foreground also turns her head, in the process making Su-jeong’s response more visible (Fig. 1.14). Su-jeong slides into the center slot (Fig. 1.15). This marks a second phase of the scene, in which she'll display distress at Yeong-su's aggressive drunkenness. He urges her to drink, and as if echoing his demand, the woman on the left picks up a cognac bottle and inspects it before pouring herself another (Fig. 1.16). Su-jeong protests softly that'she doesn’t

want any more. As she does, the young man in the right foreground puts a restraining | hand on the cognac bottle (Fig. 1.17), but by then the other woman has emptied it. Finally, Yeong-su accepts Su-jeong’s unwillingness to drink and says, “Okay, my turn,” before gulp-

ing down another glassful (Fig. 1.18). The scene ends with Su-jeong pouring him a fresh drink (Fig. 1.19). Hong’s manner of handling requires some fairly careful choreography, most apparent when Su-jeong’s face becomes visible just as Jae-hoon leaves (Fig. 1.14) and when the youth in the right foreground shifts rightward slightly to let us see Yeong-su drain his glass greedily (Fig. 1.18). The trouble that Hong and his players have taken yields some

STAGING AND STYLE 5

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FEUILLADE, OR STORYTELLING 53

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Valgrand at about the center of the frame. This clears a space on frame right for the prison guards, who enter almost immediately. Gurn closes the curtain (Fig. 2.26). After the guards have arrested the groggy actor and departed, Lady Beltham sees them out on the right while Gurn emerges, creating a neatly balanced composition (Fig. 2.27). Throughout the scene, decentering serves only to resettle the shot and to direct attention to key elements. This example is instructive in another way. It reminds us that directors of the 1910s do not have to assume that every viewer must pick up on every item at the same instant. Rather, without seeming to be merely marking time, the director must stretch out an action long enough for all viewers to notice. For instance, perhaps some viewers spot Gurn at the moment Lady Beltham starts her rightward stroll across the frame (Fig. 2.24). But by the time she turns to look at him as he peers out of the curtain (Fig. 2.25), most viewers have registered his presence. Feuillade can only prompt, not force, the spectator’s at-

tention; but he can prompt it through a cascade of cues. | We usually think that a deep pictorial space demands diagonal compositions, but lateral staging can achieve considerable depth by setting rows of figures perpendicular to the camera. Near the end of the same episode Juve believes that Fantémas is disguised as Gurn, so he brings Gurn into the jail, only to discover that he is actually the actor Valgrand (with whom Fantémas/Gurn had switched identities). Instead of the single horizontal plane of Les agents... , this scene is conceived in depth but with depth itself consisting of several parallel layers (Figs. 2.28—2.34). The main alternative to lining actors up, either in one layer or several, is diagonal staging. Staging of this sort was common in exterior shots since the beginning of cinema, and within interiors it became more frequent between 1906 and 1913. Kristin Thompson has traced how American directors worked to fill the empty foreground area of interiors by designing sets with rear entryways and by placing furniture downstage so that figures were motivated to approach the camera.”’ Feuillade’s films make robust use of diagonal depth, usually with all planes in focus. Gaumont took pride in his films’ crystalline photography, achieved largely by shooting in daylight, both in exteriors and in sets built in the glass-walled studio. Sunlight allowed Feuillade’s cameramen to keep both foregrounds and backgrounds sharp, and moving to the brilliant climate of Nice only increased the prospect of extreme depth of field, an effect apparent in La Nouvelle Mission de Judex and made altogether splendid in Tih Minh (Figs. 2.7—2.8). Striking though diagonal depth is, it also poses compositional problems. Given play-

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FEUILLADE, OR STORYTELLING 55

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long take, rendered the film more faithful to life; if you witness an accident or a fight, you have only one vantage point, and your experience unfolds in continuous time.*? Many of Hous European contemporaries justified their distant long shots on pseudo-Brechtian grounds, claiming that distancing blocks emotion and provokes the viewer to thought. But Hou wanted to capture a particular emotion made possible only by distance: “Say youre in a street and you see something a little further along: a group of kids standing on a corner or a little kid who runs out into the road to pick something up and then runs back. Even from a distance, you can feel the tension. That’s the kind of feeling I wanted in my shots.”** After Edward Yang suggested that he watch Pasolini’s Oedipus Rex (1967), Hou refined

his rationale a bit further. He claimed that a film could represent not only the objective standpoint of the director but also that of the character. It could also portray what was passing through either the character’s or the director's imagination. “To make a film is to play with these four points of view.”*? This conception seems to explain the deviations from objectivity to be found in the quiet flashbacks of The Sandwich Man and Boys from Fengkuei

(presumably motivated by character memory), as well as the more disorienting passages of Dust in the Wind, which may present the hero's thoughts and feelings recast by an external narrational agency (the “director's imagination’). Significantly, whatever type of subjectivity is present, Hou still tends to render it in fairly distant long takes, as if any degree of subjectivity would still be refracted through the director’s objective “point of view.” Despite the New Cinema’s pressure to innovate and Hou'’s growing awareness of what he wished to convey, his films of this period do not wholly reject what he had already accomplished. He remains an apostle of attenuated continuity. Most scenes are built out of a master shot and a very few inserts, with the cut likely to be an “axial” one (that is, straight in or out in the 1910s manner; Figs. 2.5—2.6). As in his first films, he favors the long lens for both overall views and medium shots. Now, however, the lesson of the dense widescreen image is transferred to stories with a slower rhythm, less definable plot twists, and a subtler, more oblique approach to exposition. Hou, starting out a bit like Renoir in his almost casual willingness to let life trickle in around the frame edges, was becoming more like Mizoguchi, a proponent of rigorous framing and modulated action. So we get a scene like that in A Time to Live, a Time to Die, in which standard continuity editing is revised in order to register the effect on the family of Ah-Hsiao’s passing to middle school. He comes home as his mother, sister, and two brothers are scrubbing the floor and his father sits at his desk. A telephoto shot of the doorway shows, in depth, the boy arriving to stand silhouetted in the center, where his mother embraces him; the grandmother is sitting in the foreground, and brothers, sisters, and father are dimly visible in

206 HOU, OR CONSTRAINTS

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