Movies as a Visual Medium

Films by nature are defined by the visual nature in which they construct their worlds. Unlike a novel, a film's picture is tangible, visually universal as it is displayed on screen, leading to a medium of storytelling that is in part completely objective. If you share a novel with somebody who speaks another language, even with translation some fraction of the story you first expierence is miscommunicated along the way. However show the same individual a movie with the sound off and by the time the credits role you will have both shared a visual expierence; subjectivity may influence your opinions on the material, but the material, the film, that is universal. The best movies are always the ones that communicate their story both narratively and visually. Below are four examples of this phenomena in this years oscar nominated films, and my hope is by reading this I can share my own experiences with modern visual media with others in the same way they imprinted on me.

The above image is from the first opening frames of Hell or High Water, a modern western drama that opened earlier this year. The film depicts the struggle of rural families and businesses to maintain a fair state of living, and the desperation some will go to maintain what they believe is theirs. This establishing shot pans over the once economically buzzing main street, now a cluster of closed shops, finally focusing on the morning routine of a secretary arriving for her day job at the bank. As she leaves her car, the barren wall behind her has a message etched in graffiti that jabs at the hypocrisy of banks ethics. Hell or High Water waste no time constructing its narrative, using arguably the most important shot in the movie (the establishing shot) to justify the actions of the two brothers who precede to rob her moments after, all without saying a word.

Arrival is great science fiction that explores bold new concepts under the guise of a familiar narrative. As the title suggests, we have made first contact with an unknown alien race, we have no idea where they're from or what they're here. Unlike many movies however, rather than develop into a typical invasion movie, Arrival focuses on a linguist played by Adams who serves as the only bridge between humanity and extra terrestrial life. During the fist act director Denis Villeneuve plays up the suspense, much like the marketing, and it all commutates in the moment of first contact between Adams and the aliens. The area the humans inhabit is dark, forbidding, almost empty whereas the aliens are shrouded in a heavy white fog that lights both sides of the barrier. It may seem like a stylistic touch, but under the eyes of an intelligent viewer such a contrast may suggest a parallel to human knowledge, between what we think we know and what we can still learn. Call it stretching it but there is a reason this Young's second nomination for cinematography for a major motion picture.

Hacksaw Ridge is a movie that is as epic as it is personal. Following the events of a brutal battle in the Western Pacific, the story centers around Private Desmond Doss who in one night saves dozens of lives without firing a shot. Gibson realizes the gravity of this story by contrasting wide panning shots over the battlefield carnage with various medium long shots of private Doss saving another life. It's essential the audince feels the fear that these men fear, all that so they may also feel the triumph of Doss's sacrifice. Each shot capitalizes on this dynamic, concocting a film that is equal parts horror and heroic epic.

Last on the list is an animated picture, my favorite animated movie of the year in fact. While many would dismiss the cinematography of this art form for its seemingly omnipotent camera, the creators at Laika took extensive care when planning their shots for Kubo and the Two Strings. For the many who missed this family friendly adventure in August, Kubo deals with themes of family and legacy. Beetle and Monkey directly parallel Kubo's mother and father and to show this the animators take every opertunity they can to preserve the trio in a single frame. Many of Kubo's best moments happen around a fire, or when the characters are just interacting organically like a family would. Despite being an animation Kubo and the Two Strings still uses the visual medium of film to tell its story both narratively and visually.