Week Four [Reading Notes]
Symmetry and Cinema
For this week's reading and research to develop my project's theme of symmetry, I chose to research more into the film practice methods, looking at symmetrical compositions in the cinematography of motion pictures. Having a strong passion in film production and film studies, I admire the works of directors such as Christopher Nolan, Martin Scorsese, Wes Anderson, Terry Gilliam, Ridley Scott and Stanley Kubrick. All of these directors implore symmetrical compositions in a vast array of scenes and sequences in their films. By researching further into the use of symmetry in film, I was hoping it would give me a better understanding of why I wanted to do a project on symmetry, what perspectives I should take when composing my photographs, and more importantly why they use symmetry in the framing of their films.
Reading 1:
Symmetry and Architecture in Film by Allison Janes
Symmetry is one of the fundamental principles of the classical language of architecture, and is central to the classical greek and roman definitions of beauty, as well as the humanist intentions of Renaissance and Enlightenment art and architecture. Classical symmetry is a reflection of divine perfection exemplified by the proportions found in nature and the cosmos, particularly the inherent symmetries of the human figure. Beauty, in the classical sense, is also derived from these relationships, such that a beautiful temple and well-formed man were part of the same overarching system of divine or cosmic proportions. In his work The Ten Books on Architecture, Vitruvius defines symmetry as the orderly, mutually corresponding arrangement of various parts of a body (human, built, natural or cosmic), producing a proportionate, balanced form or whole. This classical ideal is referred to as the Vitruvian man: the human body inscribed in the circle and the square (fundamental geometric patterns of the cosmic order)
Vitruvius once said:
“The design of Temples depends on symmetry, the rules of which Architects should be most careful to observe. Symmetry arises from proportion, which the Greeks call ἀναλογία. Proportion is a due adjustment of the size of the different parts to each other and to the whole; on this proper adjustment, symmetry depends. Hence no building can be said to be well designed which wants symmetry and proportion. In truth, they are as necessary to the beauty of a building as to that of a well-formed human figure.” (qtd. Thayer, 2011)
Tessa Morrison states:
“The idealization of the city as a symmetrical motif, both in art and literature, has endured through the millennia. In Plato's Critas, the city is depicted as five concentric rings of land and water surrounding the citadel… Town planning and religious traditions of Rome were expressed symbolically in this geometric layout of the Roman labyrinth. Both the earthly and heavenly cities were reflected in this motif since the microcosm reflected the macrocosm. In Revelations, the Heavenly Jerusalem has four-fold symmetry… Utopian visions of the city from the Renaissance through to those of James Silk Buckingham in the nineteenth century involved planned cities with strict symmetrical designs. With this symmetrical geometry, order would prevail, improving not only the aesthetics of the city but also improving the way of life of the population who lived in the city…” (Morrison, 2005)
This online essay looked at one of my favourite films Brazil (Gilliam, 1985), I particularly like the mise-en-scene and set designs in this film, having a futuristic, utopian look to it. I really like the look of buildings like this, some people may not like them but I really like their futuristic appeal. Anyway, Jonathan Paul discusses Brazil:
Libria’s urban form emphasizes the bilateral symmetry of horizontal and vertical planes in comparison to spherical or rotational symmetry. Bilateral symmetry is a function of a single axis, rather than the multiple or possibly infinite axis available with rotational symmetry. This spatial configuration implies a unidirectional tyranny and symbolizes the oppressive conformity promoted by the Tetragrammaton. The subjugated public is relegated to the horizontal plane of the city streets and squares where they are unable “rise above” the crowd. They are easily surveyed by the vertical architecture of the Tetragrammaton.
In comparison, the vertical axis, which holds connotations of power and heavenly authority, is reserved for governmental buildings and iconography. The rigorous use of bilateral symmetry and the repetition of building elements such as columns, in Libria increase the perceived depth of the scenes. They also create the feeling of an artificially produced perspective. The symmetrically composed shots focus on distant vanishing points, reflecting the single social/religious forced ‘perspective’ imposed by the government.
References
Morrison, Tessa. (2005) “The Symbol of the City: Utopian Symmetry” International Journal of the Humanities , Vol. 3, Issue 5 (93-104)
Thayer, B. (2011) LacusCurtius • Vitruvius on Architecture. Available at: http://penelope.uchicago.edu/Thayer/E/Roman/Texts/Vitruvius/home.html (Accessed: 2016).
_____________________________________________________
Reading 2:
The Art of Perspective and Symmetry in Cinematography by Jonathan Paul
One-point perspective and symmetry as an expressive art form in film sometimes overlap. Professor Louis Thonsgaard from the University of Aarhus has described symmetry as
: …material being organised in such a way that it conveys a sense of unity through repetition of one or more elements.
Meanwhile, one-point perspective works by placing the camera perspective directly opposite from the horizon line and vanishing point. Filmmakers like Paul Thomas Anderson, Wes Anderson, and Stanley Kubrick make use of one-point perspective and symmetry in cinematography to frame the action within a scene.
Kubrick and One-Point Perspective
Stanley Kubrick is widely thought of as a genius filmmaker and a master of film composition. He would use this type of composition to elicit a phycological reaction, to place the audience in an uncomfortable state, as this is the natural reaction to this type of framing. The following video from Vimeo user kogonada has made the rounds several times, but that’s only because it presents the best evidence for Kubrick and one-point perspective.
One-point perspective, though, is a technique used long before its introduction in the cinema. The understanding of the intricacies of perspective was reached only gradually over a period of 400 years, with Raffaello Sanzio (1483-1520), generally known as Raphael, as one of its most accomplished exponents. Leonardo da Vinci’s (1452-1519) “Last Supper” (1498) is one of the most famous and recognizable examples of the Renaissance use of perspective. The horizon line runs near the heads of the figures with the vanishing point leading all the receding lines (and hence the viewer’s eyes) to the figure of Christ. One last note: although the “Last Supper” painting represents a moment before something terrible happens, one-point perspective in painting does not always try to make the viewers feel uneasy.
It’s interesting to think of one-point perspective and symmetry as something coming from a photographer. Photographers are, I would say aggressively, told to use the rule of thirds in their compositions instead of a bull’s-eye approach, and here we’ve a photographer repeatedly placing his actors in the center of the frame. Kubrick’s passion for photography started at the age of 13, when his father bought him a Graflex camera.
 |
| Kubrick's Chicago, 1949 |
Hired by Look magazine, in 1946, first as an apprentice and later as a full-time staff photographer, Kubrick soon revealed a keen interest in storytelling photographs. In 1949, Look published a photo essay, “Chicago-City of Extremes”, revealing his talent to create atmospheres. One of the images, of a congested Chicago street at night (above), shows the passion for the one-point perspective that would become a trademark in his moving images.
 |
| Anderson and Kubrick's use of symmetry. Image source: http://www.provideocoalition.com/from-kubrick-to-anderson-one-point-perspective/ |
Stanley Kubrick’s films like “The Shining”, “2001: A Space Odyssey”, “A Clockwork Orange”, “Full Metal Jacket”, “Barry Lyndon”, “Eyes Wide Shut” and “Paths of Glory” are examples of how the use of one-point perspective leads the public into the action, as if the three-dimensional effect created made the viewer “enter” the scene, instead of seeing it from afar.
Kubrick’s technique may well be associated with unsettling moments, but it is not be limited to that, as the cinematography of Wes Anderson reveals. The passion of this author for centring a shot is not new, as Anderson has used it over and over in his movies, from “The Fantastic Mr. Fox” to “The Darjeeling Limited”, “Life Aquatic with Steve Zissou”, “The Royal Tenenbaums”, “Moonrise Kingdom” (which offers plans similar to Kubrick’s “Full Metal Jacket”), the recent “The Grand Budapest Hotel” and again in the coming “She’s Funny That Way”.
_________________________________________
Reading 3:
Symmetry - the Forbidden Fruit of Picture Composition in Film by Louis Thonsgaard
The concept of symmetry sounds simple and familiar, yet symmetry is far more complex and difficult to apply in practice than one might think. The visual power of symmetry is so great that filmmakers often avoid or are advised against using symmetrical picture compositions. And this is not so odd, for if symmetry is used randomly and thoughtlessly, one runs the risk of creating visual disturbances in the narrative of the film. On the other hand, the filmmakers who master the art of symmetry wield a powerful visual aid capable of communicating complex meanings that cannot otherwise be conveyed visually.
DEFINITIONS OF SYMMETRY
Symmetry refers to material being organised in such a way that it conveys a sense of unity through the repetition of one or more elements. In film theory, it is appropriate to speak of three kinds of symmetry in the two-dimensional picture.
1. Translatory Symmetry
Translatory symmetry is basically the repetition of an object based on the formula "1+1+…". The displacement can vary in countless ways, as can the number of objects displaced. Translatory symmetry is fundamentally static and locked in a repetitive expression, yet by varying the concept it can be infused with a certain dynamic quality.
2. Rotational Symmetry
Rotational symmetry consists of similar, equidistant objects relating to a central point from equal distances. The objects in rotational symmetry often create a visual centrifugal force around a marked or unmarked center. In rotational symmetry at least two objects relate to each other
3. Axial Symmetry (also called Bilateral or Mirror Symmetry)
Axial symmetry refers to the popular definition of symmetry as mirroring in respect to an axis. Axial symmetry primarily differs from other kinds of symmetry by containing objects that mirror each other. Furthermore, the mirroring objects relate to each other across a given axis that is either marked or unmarked. The axial symmetric picture consists of two mirroring parts which start out by counterbalancing each other compositionally, thus often creating compositions that are statically in balance. Yet as a closer look at axial symmetry will show, the concept has various expressive possibilities.
ADVICE ON THE USE OF SYMMETRY
Symmetry is a very obvious form of composition, which of course offers opportunities but at the same time can cause a situation to seem artificial, stilted, and thus shatter the illusion of the fiction. This is possibly the reason that a lot of filmmakers try to avoid symmetry.
Rather than accentuating insignificant events in the film, it is important to emphasize those that are important at the right time. In addition, it is important to remember that like any other filmic device the effect of symmetry is weakened by frequent use.
a) Important characters
Symmetrical compositions focus the attention on characters appearing in them, and hence it is important to consider who should appear in them. Only characters who are significant to the narrative of the film should be placed in the axis of symmetry. Less significant characters can appear as mirroring objects; however, if they do not refer to a significant character in the axis of symmetry this should be carefully considered. To place an insignificant character in the axis of symmetry can be disastrous for the spectator's perception of the scene, which is why this is hardly ever done.
b) Basic use
Personal enlightenment
Symmetry can be useful as a visual marker of important events in the narrative of a film, emphasizing the shots that need to be given attention - for example, if one of the main characters of the film gains new insight and thus makes a choice that will be decisive for the further development of the narrative. In connection with a personal enlightenment, which may be considered a significant moment in film narrative, it is possible to focus more attention on this shot by using symmetry.
Powerful characters
The visual control of the picture created by symmetry can be conveyed to the characters of the people depicted. Hence it is natural to take advantage of symmetry in certain situations. Symmetry is often used to convey the high-status position of characters with, for instance, considerable power or physical strength. Although this use of symmetry may be tempting to apply often in a film, it is not advisable.
Community
Since symmetry basically consists of several parts combined into a whole, it is natural to apply symmetry in situations where characters participate in some kind of community, one that may also contain animosity. Characters sharing some sort of community may figure as the mirroring objects in symmetrical compositions.
Death
Characters or objects that can be connected to either conditions or actions in the symmetrically organised space of the Christian church are often placed in symmetrical picture compositions. Especially in connection with death, the use of symmetry is so extensive that spectators find symmetrical compositions natural, though usually this is unconscious. Symmetrical compositions are often applied in scenes concerning death. As the simplest form of symmetry can express peace, stability and eternity, it is natural to apply symmetry in these situations. Furthermore, this use has evolved so much that we now often see dying characters in symmetries with diagonal axes. The acceptance or expectation of symmetry in connection with death is so great that it may be described as one of the most developed areas in the creative use of symmetry, as will be illustrated by an example in the next section.
c) Advanced use
Transformation
Some of the most exciting symmetries in films are created when the composition of a shot is transformed from being asymmetrical to being symmetrical, or from being symmetrical to being asymmetrical. When symmetry is applied this way, the possibilities for its use in respect to narrative transformations becomes obvious.
Asymmetrical symmetry
There are a number of symmetrical compositions that only occur in moving pictures. They are created by frames that may have symmetrical elements but that would not be described as symmetrical if viewed separately. These shots still give a symmetrical impression because the objects move over time, which may give the shot a visual quality that the separate frames do not contain.
In
Heat (Michael Mann, 1995), after lengthy deliberation between the main characters, Neil decides to take vengeance on the traitor Waingro. The camera follows Neil as he walks down a hotel corridor, which he corresponds to symmetrically, while other characters create disorder and asymmetry as they run past him and the camera in the opposite direction. In a film that all but avoids symmetrical compositions, this shot has a very powerful effect, charismatically emphasising Neil's strength, decisiveness and control.
d) Planning
The absence of symmetry
Each time symmetry is applied there will be asymmetry for a while up to the symmetrical shot - unless it is a matter of a series of symmetrical shots, which is very rare. Because symmetry is a distinctive form of composition that draws attention to itself, the absence of symmetry helps intensify the visual effect and thus also the viewer's focus of attention when the symmetrical composition is finally applied. The longer the absence of symmetry, the greater an effect can be created.
Be prepared
Before planning to shoot a symmetrical composition one should be aware that it is probably not possible to cut back to this shot in the same scene without giving the impression of having failed to take enough shots during the shooting. The symmetrical shot is not to be considered a regular shot from which one can cut back and forth. It draws too much attention to itself for that.
A scene may for example be introduced and concluded with the same shot. Furthermore, the shot may appear several times if it is part of a series of symmetrical shots, but it will function best if there is a change in the visual expression of the symmetrical composition. Thus, it is important to plan symmetrical compositions carefully, and preferably one should film the situation from an asymmetrical angle if the possibility of cutting back to this shot is to remain open.
Reading Sources:
1. Janes, A. (2008) Symmetry and film: Asymmetry and madness. Available at: http://www.tboake.com/madness/janes/symmetry_asymmetry_madness.html (Accessed: 2016).
2. Paul, J. (2015) The Art of Perspective and Symmetry in Cinematography. Available at: https://www.premiumbeat.com/blog/the-art-of-perspective-and-symmetry-in-cinematography/ (Accessed: 2016).
3. Thonsgaard, L. and Raskin, R. (2003) ’Symmetry - the Forbidden Fruit of Picture Composition in Film’ in A Danish Journal of Film Studies: p.o.v. [Issue 15]. Available at: http://pov.imv.au.dk/pdf/pov15.pdf (Accessed: 2016).
