Seeing Like the Buddha by Cho Francisca;

Author:Cho, Francisca;
Language: eng
Format: epub
Publisher: State University of New York Press
Published: 2017-04-14T16:00:00+00:00

The Preference for Shadows

The ubiquitous shadows that appear in Maborosi are the results of the film’s cinematography. The use of long shots frequently turns the characters into dark silhouettes, as in the penultimate scene of Yumiko and Tamio on the jetty. Another striking example is when their children run along a lake and are reflected into mirror images in the water that are brighter than the silhouettes formed by their physical bodies. Whereas close-ups of faces require sufficient lighting, long shots need not worry about illuminating visual expression or emotion. Humans become one part of the scene rather than its center, often moving in and out of the frame of the stationary camera. We are made to look at places well before and long after people occupy them, which calls attention to the larger patterns of darkness and light that compose the world. In the absence of the anthropocentric focus, the screen turns into a play of chiaroscuro in which humans meld into the darkness and are obscured by the light coming in through a window, reflecting off the water, or illuminating the sky.

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