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Des O'Rawe
To cite this article: Des O'Rawe (2011) Towards a poetics of the cinematographic frame, Journal
of Aesthetics & Culture, 3:1, 5378, DOI: 10.3402/jac.v3i0.5378
Article views: 22
Keywords: cinematographic framing; film aesthetics; improvisation; reflexivity; deframing; cinema and the city
It should not be difficult to write an aesthetics in relation to image composition or projection, the
of the cinema on the basis of this weighted and shot, or the screen? What are the implications of
oft-employed concept.
its tendency ‘‘to disappear altogether, to achieve
Wolfgang Kemp1
invisibility*both in the dominant procedures of
There is always more to framing than framing. As film theorists and in the consciousness of the film
much a metaphysical conundrum as a composi- viewer’’?3 What does the cinematographic frame
tional device, the frame does not simply surround share with framing formations associated with still
and present the image; it structures it, and what is photography, video, multi-media, or installation
framed and not framed, included and excluded, art works? What differentiates framing from ‘‘de-
centred and de-centred, invariably reveals a framing’’ in a world where cinema and the other
method, a choice, a way of seeing the world. Is visual arts and practices seem to be moving
the frame, then, the primary unit of film meaning, inexorably ‘‘towards the configuration of a space
‘‘the absolute standard of reference for the whole of of representation which radically transforms the
cinematic representation’’?2 Does it matter chiefly condition whereby the image is authorised’’?4
*Correspondence to: Des O’Rawe, Queen’s University, Belfast, UK. Email: d.orawe@qub.ac.uk
#2011 D. O’Rawe. This is an Open Access article distributed under the terms of the Creative Commons Attribution-Noncommercial 3.0 Unported
License (http://creativecommons.org/licenses/by-nc/3.0/), permitting all non-commercial use, distribution, and reproduction in any medium, provided
the original work is properly cited.
Citation: Journal of Aesthetics & Culture, Vol. 3, 2011 DOI: 10.3402/jac.v3i0.5378
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Any analysis of framing is also an analysis of it proceeds from frame/s (selection) to shot
visual style and all cinematographic frames cor- (composition), to sequence (montage), to film
respond to one of four types: indiscernible, (production). The style of many important film-
figurative, aleatory, or reflexive. The first category makers can be defined by how they use the frame
relates to the style of framing found in most as an expressive resource, as something significant
commercial cinema where the rules of continuity in a figurative or metaphorical sense rather than a
realism and ‘‘seamless’’ narration demand that a neutral receptacle for the reproduction of reality.
film never draw attention to itself as a film, as an When influenced by some form of Expressionism,
aesthetic artefact. Rather than discussing this for example, filmmakers typically distort perspec-
category in detail (where, in one sense, the frame, tives, and saturate the shot with ominous sha-
like the cut, does not exist), the essay examines dows, shapes, and reflections.6 In films by F. W.
approaches to film-making characterised by more Murnau, Fritz Lang, John Ford, Tim Burton, and
expressive and broadly modernist framing tech- David Cronenberg, for example, natural and
niques, instances where*to paraphrase Gerald architectural features of mise en scène are often
Mast*the film frame is less a passive container deployed to double-frame (encadre-en-abyme)
than an active signifier.5 The second category characters and situations, conveying a leitmotif or
(figurative), then, is discussed because it com- foreshadowing a significant event. Such examples
prises shots and sequences where the position of invoke the films of Orson Welles and Alfred
the frame decentres, distorts, or ‘‘disconnects’’ Hitchcock, which also belong to a commercially
the image for deliberate figurative or metapho- orientated cinema in which the frame is actively
rical effect. The third (reflexive), on the other involved in the action, where its placement and
hand, refers to avant-garde or artists’ filmmaking movement articulates a drama while simulta-
practices where institutionalised framing conven- neously generating other figurative possibilities.
tions are deliberately subverted. (Within this In The Lady from Shanghai (Welles, 1948, Co-
context, for example, the inherent properties of lumbia), for example, the frame appears to con-
the cinematographic frame become the ‘‘struc- stantly distort, de-centre, and displace the images.
tural’’ subject matter of the work itself.) The Although, often praised for its assortment of so-
fourth (aleatory) category encompasses the no- called Wellesian ‘‘touches,’’ this mesmerising mix-
tion of arbitrary framing and relates to moments ture of angles, tilts, and perspectives gives the film
when the behaviour of the frame is determined an unusual coherence, an achievement made all
largely by chance and accident, by contingency the more remarkable given its inauspicious pro-
rather than cinematography. Although figurative, duction history.7 What is being framed through-
reflexive and aleatory framing styles might also be out The Lady from Shanghai is the relationship
said to exemplify deframing, the essay questions between (the sinister) Elsa and Arthur Bannister,
that assumption, arguing instead that ‘‘defram- that grotesque marital trompe l’œil that finally
ing’’ signifies something other than a technique disintegrates amidst mutual gunfire, crashing
to produce perspectival distortion or composi- glass, smoke, and mirrors. The languid full shots
tional imbalance (which would still constitute and close-ups (pin-ups) of Hayworth (albeit
framing, after all) and that its more inserted at the insistence of Cohn) provide a
radical*deconstructive*implications are better supplementary distortion never entirely at odds
understood in relation to various installation and with Welles’s delight in stories and images of
performance-based art works, where what is deceit, and dangerous, doomed liaisons.
being deframed is the assumption of a difference Hitchcock’s Rear Window (1954, Paramount) is
between the interior and exterior of the artwork similarly illuminating in terms of its deployment of
itself, its apparent boundaries, and identity. figurative framing techniques within the ‘‘classi-
cal’’ Hollywood style. The opening title sequence,
for example, has as its backdrop a series of three
FIGURATIVE/VENICE
adjoining windows that divide the screen into
The frame is the basic unit of film meaning. A shot perfect thirds. The windows are open but their
can contain any number of frames*or just translucent cotton blinds are down. As the music
one*but the process begins in the act of framing; starts (a taut, oboe-jazz composition), credits
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Poetics of the cinematographic frame
appear across the screen, and one after another of its own contents and subject to some myster-
(window frame-by-window frame) the blinds rise ious motivation. However, regardless of whether
slowly to reveal the inner courtyard of a small, or not a cinematographic imagination tends to-
busy New York apartment block. The camera wards expressionistic excess or minimalistic aus-
dollies through the central window, floats into the terity, vivid representation or virtual abstraction,
courtyard, and frames a cat running up some steps the positioning of the frame to signify something
below. Once the cat has left the frame, the camera dangerous, disruptive, alien, confused, or empty
pans carefully across the courtyard with its roof invariably makes it a figurative device. In the case
and fire-escape ladders, windows, balconies, of Antonioni, for example, the frame will some-
picket fences, little gardens, and even a bird cage times seem to acquire a life of its own, either by
before returning back through the original open becoming indifferent to its ostensible dramatic
window, and into a close-up of the perspiring purpose or by moving elsewhere from the action
brow of L. B. ‘‘Jeff’’ Jefferies. The sequence then to probe the gaps, ellipses, ‘‘nothingness,’’ at the
cuts momentarily to a close-up of a thermometer centre of reality. This is not to say that Antonioni’s
on the wall beside the window (showing the frame merely frames blankness or critically under-
temperature to be 928C) before dollying out again mines its own formal and visual function. Rather,
into the courtyard. This time the camera frames the configuration of objects, gestures, and per-
specific apartments as the occupants prepare for spectives within the frame can be characterised by
the day ahead: a middle-aged man shaving and a certain intangibility that both maintains the
listening to the radio, a couple on a balcony expressive primacy of the film image itself while
wakening from their night’s sleep, a young woman also signifying the irreparable brokenness of
exercising and making breakfast in her bra and the things it appears to represent (stories, char-
pants (‘‘Miss Torso’’). This iconic mise en scène is a acters, relationships, fictions).
collage of frames, a tableau or gallery of cinema Take, for example, the Venice sequences to-
screens (as has often been suggested, especially by wards the end of Identification of a Woman/Identi-
François Truffaut, and Hitchcock himself). From ficazione di una donna (1982, It./F.), one set on the
his apartment, the incapacitated Jeff will watch lagoon just beyond the islands, the other in and
this world of attractions. The theme of Rear around the lobby of the Gritti Hotel on the Grand
Window is framing rather than peeping or merely Canal. The first sequence opens with an aerial
looking, inventiveness not inquisitiveness. Char- shot of a man and woman, travelling in a motor-
acteristically Hitchcockian, it is a film about boat, heading out into the more open waters of the
constructing fictions and making stories rather lagoon. Niccolo, a middle-aged film director, has
than a Freudian allegory about the identificatory already spent part of the film searching for his
habits of voyeurs (and auteurs). As it so happens, former aristocratic lover, Mavi, who left him
one of Jeff’s fictions turns out to be true but this is (inexplicably) after a brief, sexually intense affair.
largely beside the point. As he looks out onto the He is also searching for an idea*or ideal*for a
courtyard opposite, he too is being framed fram- film about women. Recently divorced, all Nicco-
ing the world around him, turning homes into lo’s relations seem to be with women, including
theatres, lives into performances, and unhappy his sister (a gynecologist), his ex-wife (who has
husbands into murderers: to frame is always to escaped to the country), and his new lover, Ida (an
imagine. actress performing in an avant-garde dramatisa-
The type of motivated or ‘‘expressionistic’’ tion of Les Fleurs du mal). Niccolo has brought Ida
framing associated with a Welles or Hitchcock to Venice on this short holiday.8
can seem radically different from the more austere As this sequence cuts to a long shot, their boat
framing arrangements found in the work of film- approaches the camera. Niccolo disengages the
makers such as Yasujiro Ozu, Robert Bresson, engine, and they drift into the centre of a fixed
Eric Rohmer, Michelangelo Antonioni, Alain frame. The couple embrace, briefly discuss
Resnais, and Hou Hsiao-hsien. Within this tradi- solitude and the water before he gets up and
tion, the frame is strangely evasive, detached, stands astride at the stern of the boat. He stands
often drifting across and beyond conventional in full reverse shot, centre-frame, arms out-
lines of movement and action, as if independent stretched, an image of a dominant figure, author-
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D. O’Rawe
itative yet absurd, both in control of the space he (following the same trajectory as the preceding
surveys and, of course, not. The boat rocks shot in the lobby). We hear and glimpse Ida
slightly on the dead water. The couple sit down talking excitedly on the telephone. She is clearly
together, talk, kiss, and begin to make love. pleased by some news and the rich lighting and
Throughout the sequence, the style of framing warm colours that now surround her contrast with
is static and uneventful. The boat (a recurrent the image of an expressionless Niccolo, standing
in the cold, neutral background of another door-
way*virtually forlorn. The camera again discards
him, stopping momentarily at an old oil portrait of
a stern-faced Venetian nobleman.9 It pans along
the wall, framing various lamps and paintings as it
travels, before a bellboy, carrying a tray with a bill
on it, walks across the shot. The sequence then
cuts to an elderly woman sitting in the lobby
writing at a desk. She turns and glances into the
camera as it passes, before framing a younger
woman in medium close-up, who also turns and
looks towards it. Uninterrupted, it moves into
Identification of a Woman: Authority and Absurdity.
another lavish reception room, decorated with
large mirrors and crystal chandeliers, before
motif throughout Antonioni’s work) is a symbol arresting in a long shot of an elderly woman
of stasis and isolation. The colour palate and playing the piano.
lighting make it virtually impossible to distin- At this point, Niccolo walks back into the frame;
guish the bleached grey of the skyline from the with his back to the camera, he removes his coat.
shoreline. The characters’ conversation and The camera slowly turns towards him as he leans
actions, the incidental gestures and elliptical against the wall and places an unlit cigarette in his
statements about inspiration, the belly of Moby mouth. The scene then cuts to a long shot of Ida
Dick, and the futility of marriage correspond entering from the opposite end of the room.
to the pervasive sense of lugubriousness, the Illuminated by the arrangement of lights and
overwhelming stillness and silence that finally mirrors in the room, she appears radiant in her
seems to drive them into a sudden intimation of white shirt, and white jeans. As she approaches
mortality. The camera gradually withdraws into a Niccolo, the frame refuses to centre or balance
wide shot of the lagoon, its water now rippling, their spatial relationship. They face each other
choppy, and changed. awkwardly, across a small table and two empty
In the next sequence, the couple disembark at a chairs. There follows a medium close-up of
jetty close to their hotel. A traghetto pilot (ferry- Niccolo, with the image of Ida reflected in the
man) appears, complains that they cannot moor large wall mirror behind him. Ida walks towards
the boat there, and is hastily bribed by Niccolo. A him (and out of his mirror), hesitates, and then
large ‘‘Madonna and Child’’ shrine is framed on stands adjacent to him, at a right angle. She tells
the wall behind them. They enter the hotel him her good news: she is pregnant and the father
through its heavily glazed double-doors. A young is someone she had been with just before they met.
girl, wearing a sheepskin over-coat similar to that Niccolo’s image appears in the long narrow mirror
worn by Ida, stands at the reception observing that runs down the wall beside Ida. She walks
them. The concierge informs Ida that a telephone away and his reflection follows her. They walk
call is waiting for her and as she rushes off to the back into the lobby where they are now framed
privacy of the booth, Niccolo is momentarily standing either side of a doorway, both reflected in
obscured by a pillar, as the camera pans away another mirror. In the background, a carefree
from him, framing other women now milling (honeymooning?) couple skip out through the
around the lobby. Although the film then cuts to hotel doorway. Niccolo watches them and then
a full shot of a corridor off the lobby, the frame walks out into the porch in their wake. The
‘‘ignores’’ the cut and continues to pan left camera frames and follows him but he is now
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Poetics of the cinematographic frame
remote. Ida follows him and then melodramati- becomes an invention. While the visible shape
cally declares her love for him (by paraphrasing W. and dimensions of the frame can influence our
H. Auden’s ‘‘Funeral Blues’’). As they ‘‘talk,’’ both ways of noticing and appreciating what it con-
are framed standing against the interior of an tains, this does do not alter the fact that every-
exterior door, divided now by the centre panel of thing framed is unreal, and every frame is marked
its frame. Niccolo turns and stares out through the by a trace or memory of the real it has left in its
window as a vaporetta passes by, its reflection wake. How then does one go about making the
shimmering in the glass in front of him. cinematographic frame the subject of film, fram-
ing the frame, so to speak? As mentioned earlier,
in traditional narrative cinema, the frame is
indiscernible, and tends to be ‘‘overlooked in
favour of frames, because it is frames, and not the
frame, which sustains the illusion.’’ Other film-
making forms and practices, however, regard
demystifying the frame as a way of foregrounding
the materiality of film itself, as part of a more
general ‘‘rejection of commercial cinema’s disin-
terestedness in the peculiarities of the mechan-
isms that give rise to the image.’’11 As Annette
Michelson has pointed out, it was Marcel Duch-
amp, as much as anyone, who first comman-
Identification of a Woman: framing separation.
deered the frame ‘‘to challenge the value of
pictorial purity: The frame, empty and infinitely
In both sequences, the framing and composition*
mobile, directed literally and metaphysically to-
rather than editing, acting, dialogue, and wards the world itself, proved an implacable
sound*is primarily responsible for conveying generator of forms.’’12 Throughout the 1960s
point of view and meaning. In the first example, and 1970s, various filmmakers utilised the frame
the exterior world is blank and featureless; there is to interrogate the representational conventions
no background to interrupt the intimacy of the and narrative mechanisms of the medium.13 An
couple, no history to intrude on their fantasies. important tendency at this time was labelled
Throughout, camera movement is minimal and ‘‘structural’’ by P. Adams Sitney (or ‘‘materialist’’
the framing remains balanced and exact. In the by Peter Gidal in Britain), largely because its
second, the background is full of movement and proponents and practitioners took form-as-
activity, talk and music, people (mainly, women) content to a new ‘‘degree zero,’’ eschewing any
coming and going, looking here and there. In- trace of drama and fabula by paring the medium
different to conventional motivation, this time down to its inherent material properties and
Antonioni’s frame discards its contents and seems processes (including the frame and framing, the
left to its own devices. As such, it finds (identifies) zoom, tilt, cut, close-up, filters, and so forth).
histories, archetypes, thresholds, and liminal The experimentalism of this tendency*in North
spaces that constantly elude Niccolo in his quest America, at any rate*was motivated by a desire
for something that does not exist. Virtually every- to situate art outside dominant (i.e. commercial)
thing that happens between Ida and Niccolo in the perceptual regimes. This tradition owes more to
closing gestures of their affair happens with or the pop-cultural antics of Andy Warhol than the
through what they reflect and what reflects onto politics of the anti-war counter-culture: Sleep
them, as they disappear from one another.10 (1963, 16 mm, b&w, 321 mins.) and Empire
(1964, 16 mm, b&w, 485 mins.), for example, are
‘‘structural’’ in all but official designation.14
REFLEXIVITY/NEW YORK
While Warhol paved the way for the formalism
The eye finds the image (or the image finds the of Michael Snow, Paul Sharitis, Hollis Frampton,
eye) and the frame captures it. The moment and Ernie Gehr, the less iconic (‘‘commercial’’)
a fragment of perceived reality is framed, it figure of Joseph Cornell also encouraged the
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D. O’Rawe
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Poetics of the cinematographic frame
approach to making film tends to belong within a tional*outcome. Madame l’eau/Madam Water
wider modernist context, encompassing theories (1993), a ‘‘remake’’ of Jaguar (1967, 93 mins.),
and practices synonymous with improvisation, for example, develops around the ostensibly im-
automatism, and indeterminancy.19 While most provised experiences of three Nigerians (Rouch’s
directors prefer their images to serve a plot, friends and collaborators: Lam Ibrahima Dia, Illo
screenplay, storyboard, performers*not to men- Gaoudel, Tallou Mouzourane, and Damoré Zika)
tion the array of studio-based resources that exist who travel to Holland to study windmill technol-
to prevent the intrusion of the ‘‘genuinely con- ogy in the hope of introducing new methods of
tingent’’*there are always others ‘‘willing largely irrigation and wind-powered systems back home.
to subordinate their camera to the aleatory world The Rouchean technique of generating fictions
they [refer] to as reality.’’20 Such filmmakers are around the enactment of actual events produces an
commonly associated with cinéma vérité or Direct ethnographic aesthetic available to discoveries,
Cinema, for example, François Reichenbach (New imaginings, and new meanings: at one point in
York Ballade, 1955, Fr., 18 mins.),21 or Bill Madame l’eau, the three ‘‘explorers’’ visit the
Lichtenstein and June Peoples (West 47th Street, Maritime Museum in Amsterdam where they
2001, US, 104 mins.), and that region where the suddenly confront the atrocious actions of the
documentary aesthetic and the avant-garde sensi- Dutch slave traders. This experience provokes
bility converge, for example: Warhol (Chelsea them into a discussion on history (and how it is
Girls, 1966, 210 mins.), Brakhage (Mothlight, being ‘‘framed,’’ in the ‘‘here and now’’ of this
1963, b&w, 3 mins.), Michael Snow (La Région museum), and their own journey through this
Centrale, 1971, 180 mins.), and Andy Voda strange country.25
(Chance Chants (1979, b&w, 10 mins.). More The images of Amsterdam-based filmmaker
generally, a list of filmmakers available to aleatory and photographer, Johan van der Keuken are
possibilities would include a surprising number of similarly characterised by formal techniques and
more canonical figures: Dziga Vertov, Jean Rouch, ontological dilemmas related to questions of
John Cassavetes, Jean-Luc Godard, Roberto Ros- framing. Van der Keuken’s work registers a sense
sellini, Jacques Rivette, Jean Renoir, Orson Welles of being ‘‘torn between his taste for sustaining
(‘‘a director is someone who presides over acci- images . . . and the feeling that the act of cutting
dents’’), and Robert Bresson: ‘‘The things we off part of reality and giving it meaning against its
bring off by chance*what power they have!’’22 own will embodies a harmful arrogance.’’26 Most
The aleatory methods deployed by Vertov and filmmakers are naturally preoccupied by such
the ‘‘kino-eye,’’ for example, belong to a montage questions but few share van der Keuken’s degree
aesthetic within which the random juxtaposition of commitment to transforming this ‘‘reticence’’
and collision of shots form new expressive possibi- into something intrinsically artistic. His short
lities for both filmmaker and audience. There is an documentary, Sarajevo Film Festival Film (1993,
important difference between Vertovian framing in 14 mins.), is an example of what can happen when
this context and that associated with say, Eisen- concerns about the contingencies of visual repre-
stein’s decidedly anti-aleatory principles: ‘‘The sentation and perception come into direct contact
subject must be chosen thus, turned this way, with civil conflict.
and placed in the field of the frame so that, besides During the siege of Sarjevo (April 1992March
mere representation, a knot of associations results 1996), van der Keuken was invited to screen some
that mirrors the mood and sense of the piece. of his work at the inaugural Sarajevo Film Festival,
This is how the dramatic style of the frame is ‘‘Beyond the End of the World: 23 October3
created. That is how the drama interweaves with November 1993.’’ Haris Pasovic, who had
the canvas of the work.’’23 With Vertov, however, *amongst many other things*produced Susan
as Sam Rohdie remarks, ‘‘the shape of the film Sontag’s controversial Sarajevo production of
comes from editing, but the editing does not Waiting for Godot earlier that year, organised the
predetermine what is shot.’’24 In the case of festival, and appears in the opening sequences of
someone like Rouch, the aleatory contours of the Sarajevo Film Festival Film, accompanying van der
film also emerge from a reluctance to predeter- Keuken, his wife (the sound engineer/editor,
mine a formal*although not necessarily educa- Noshka van der Lely) and producer (Frank
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Poetics of the cinematographic frame
determines p.o.v., centres its subject, and affirms citations in Godard’s magnum opus, Histoire(s) du
the ontological order of things, is it, then, de- cinéma (19881998).34 If anything, describing
framed when it is perceived to violate these images and sequences in these films in terms of
conventions? When is an abnormal point of view ‘‘deframing’’ or ‘‘deframings’’ runs the risk of
sufficiently abnormal to constitute an ‘‘explicit invoking a pseudo-deconstructionist term to de-
framing otherwise’’ signifying an anomaly that scribe a complex but essentially rational and
presents an opening to an unexpected, alternative conceptually coherent set of artistic processes
dimension of the image?29 and effects. In relation to performative and
According to Pascal Bonitzer, for example, installation-based visual art works, however, the
‘‘deframing’’ (décadrages) does not simply connote question of deframing seems much less proble-
a preponderance of obtuse perspectives and ob- matic and when used in this context seems to do
lique angles: it compels the eye to encounter an greater justice to its radical implications.
alternative image. It is ‘‘a perversion, one that Take, for example, two ‘‘installations’’ exhibited
adds an ironic touch to the function of cinema, in Paris in recent years; both of which have various
painting, even photography, all of them forms of cinematographic associations (especially, in terms
exercising the right to look.’’ In this sense, of their engagement with processes of visual art
deframing establishes the fundamental difference production, and the projection and perception of
between cinema and other visual arts ‘‘because of images): Jean-Luc Godard’s Voyage(s) in Utopia:
movement and the diachronic progress of the Jean-Luc Godard: 19462006: In Search of Lost
film’s image, which allows for its absorption.’’30 Theorem/Voyage(s) en Utopie: à la recherche d’un
In the 1960s and 1970s, this approach to relations théorème perdu (2006), and Felice Varini’s 7 Lines
between the frame and the image informed alter- for 5 Triangles/Sept droites pour cinq triangles (2003).
native ways of thinking about the effects of Much of what became Voyage(s) in Utopia was
modernity on the visual arts, and the role of generated from the remnants of Godard’s Col-
cinema in creating new ways of seeing. Deframing lage(s) de France, archéology du cinéma, après JLG,
was an ‘‘exemplary cinematic effect’’ that could an earlier Pompidou project he was forced to
(scandalously) link the paintings of a Dégas or abandon*and itself, derived from an ill-fated
Manet with films by Eisenstein or Welles and/or proposal for a lecture course on the history of
photographs by Stieglitz or William Klein. And cinema at the College de France, in 2005. Divided
yet, this argument seems to be sustained by an into three rooms, each signifying a temporality or
underlying confidence in the metaphysical integ- tense (‘‘-2: Avant-Hier,’’ ‘‘Hier,’’ and ‘‘Aujourd’-
rity of the frame, and what Bonitzer terms hui’’), the exhibition resembles a building-site (if
‘‘deframing’’ might easily be regarded as framing anything, the floor of a department store in the
by another name.31 In other words, if the notion throes of a refit). The first room is dedicated to the
of ‘‘deframing’’ can only function as a meaningful memory of Collage(s) de France and is a random
sign when the frame is assumed to be a stable, assemblage of miniature wooden models of that
objective, supplement to the image*when its exhibition, boxes, discarded writing and planning
(parergonal) indeterminacy is overlooked*is it instruments, defaced sheets of paper, photoco-
really de-framing anything?32 pies, cables, wires, and exposed sockets, and other
Towards the end of his essay on this subject, for flotsam and jetsam from contemporary (techno-
example, Bonitzer remarks: ‘‘In Godard’s work logical) life. The second room is ‘‘dedicated’’ to
[. . .] what is important is neither framing or cinema and has as its centre-piece a large minia-
deframing, but what shatters the frame, like the ture railway set, monitors and televisions (of
video trackings on the surface of the screen, lines various ratios and sizes), and a number of large
and movement that deceive any controlling im- potted plants (ecology). Various ‘‘classical’’ films
mobility of the look [emphasis added].’’33 Surely, (with familiar Godardian associations) are being
it is not a question of ‘‘neither,’’ ‘‘or,’’ and ‘‘but’’: screened on the monitors (e.g. Welles’s, unfin-
every shot, cut, and sequence in Week End (1967), ished, Don Quixote (1959); The Barefoot Contessa,
Tout va bien (1972), or Numéro deux (1975) is Joseph Mankiewicz, 1954; Johnny Guitar, Ray,
framed, as is the ‘‘fraternity’’ of superimpositions, 1954, and Rossellini’s, Journey to Italy/Viaggio in
juxtapositions, dissolves, insets, captions, and Italia, 1953). The third section invokes notions of
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D. O’Rawe
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Poetics of the cinematographic frame
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D. O’Rawe
Broome, the surreal theatricality of the trial se- Toscano, ‘Archiving Brakhage’, Journal of Film
quences, the Chinese theatre, and the funhouse Preservation 72 (2006): 23.
sequence. The film was originally conceived on the 17. Sunny Salter, ‘Farewell to the El: Nostalgic Urban
hoof by Welles while trying to persuade Harry Cohn Visuality on the Third Avenue Elevated Train’,
to invest $50,000 in his Broadway version of Around American Quarterly 58.3 (2006): 873.
the World in Eighty Days. The production of The 18. Perhaps, this association was not lost on Pierre
Lady from Shanghai was plagued by problems Huyghe when he conceived Remake (1995), a
(Welles and Hayworth’s complicated (post-) marital multiple screen audiovisual projection based on
relations, the accidental death of a cameraman, Hitchcock’s film. For a succinct overview of the
mysterious illnesses, bad weather, insect bites, and ‘replay/remake’ technique in this regard, see: Tanya
the company of Errol Flynn). It was then frantically Leighton, ‘Introduction’, Art and the Moving Image
cut and re-cut by the studio before being shelved by 3537. Another interesting film to consider in
the mercurial Cohn. relation to framing and the Wonder Ring/Gnir Red-
8. In classical mythology, Mount Ida is both associated now project is Raymond Depardon’s New York, N.Y.
with Rhesus, ‘the mother of the gods’, and the (1984, 35 mm, b&w, 10 mins.), most of which is
Judgement of Paris. In the sequence directly follow- shot through a window on the Roosevelt Island
ing the Venice segment discussed here, Antonioni tramcar as it crosses the 59th Street Bridge.
cuts to a shot of Niccolo noticing (identifying) the 19. Some important examples of aleatory and ‘sponta-
bronze statue of Venus in the hallway of his neous’ composition from other arts might include:
apartment building. W.B. Yeats’s A Vision (1925); Jean Arp’s Collage
9. The painting is in fact a copy of Titian’s portrait of Arranged According to the Laws of Chance
Doge Andrea Gritti and the hotel was originally his (19161917), and Richard Serra’s molten metal
palace. Given that Niccolo’s desire for the aristo- ‘splashings’ (1968); Allan Kaprow’s 18 Happenings
in 6 Parts (1959); Ornette Coleman’s Free Jazz: A
cratic Mavi had been mediated by his own ambiva-
Collective Improvisation (1960), and John Cage’s
lent attitude to that social class, these surroundings,
Water Music (1952).
and their history are hardly coincidental.
20. Nöel Burch, Theory of Film Practice, trans. ed. Helen
10. For further discussion of frames-within-frames in
R. Lane (Princeton: Princeton University Press,
cinema: see Anne Friedberg, The Virtual Window:
1981), 10912.
From Albert to Microsoft (Cambridge, MA: M.I.T.
21. Incidentally, Reichenbach would later work as Chris
Press, 2006), 2003. See also, Gilles Deleuze’s,
Marker’s cameraman on The Sixth Side of the
Cinema: 1: The Movement Image, trans. Hugh
Pentagon/La sixiéme face du Pentagone (1967, video,
Tomlinson and Barbara Habberjam (London: Ath-
Fr., 26 mins.), and produce Welles’s F For Fake/
lone, 1992), 1218. As an epigraph to this discus-
Vérités et mensonges (1974, Fr., 85 mm.).
sion, Friedberg quotes Deleuze: ‘Doors, windows, 22. Robert Bresson, Notes for the Cinematographer, trans.
box office windows, skylights, car windows, mirrors, ed. Jonathan Griffin (London: Quartet Books,
are all frames. The great directors have particular 1986), 134.
affinities with particular secondary, tertiary, etc. 23. S.M. Eisenstein, Beyond the Stars, vol. 4 The
frames. And it is by this dovetailing of frames that Memoirs of Sergei Eisenstein, ed. Richard Taylor,
the parts of the set or of the closed system are trans. William Powell (London: BFI, 1995), 30.
separated, but also converge and are reunited’. 24. Sam Rohdie, Montage (Manchester: Manchester
Movement Image, 14. University Press, 2006), 82.
11. Nicky Hamlyn, Film Art Phenomena (London: BFI, 25. During filming, in 1991, a group of Dutch anthro-
2003), 57. pologists (Steef Meyknecht, Dirk Nijland, and Joost
12. Annette Michelson, ‘About Snow’, October 8 Verhey) attempted to make their own documentary
(Spring 1979): 112. about the making of Madame l’eau: Rouch’s Gang
13. For a critical overview of the importance of framing (1998, col., 70 mins.). See Christopher W. Thomp-
formations and ‘screen geometry’ in both classic son, ‘Aventure, ethnologie et hazard’, CinéAction 81
and contemporary film avant-gardes, see A.L. Rees, (1996): 6973.
‘Frames and Windows: Visual space in Abstract 26. Alain Bergala, ‘On Photography as the Art of
Cinema’, in Avant-Garde Film, eds. Dietrich Scheu- Anxiety’ in The Lucid Eye: The Photographic Work,
nemann and Alexander Graf (Amsterdam: Rodopi, ed. Johan van der Keuken, 19532000 (Amsterdam:
2007), 5575. De Verbeelding, 2001), 21.
14. On Warhol’s use of multiple screen techniques, see 27. He deploys the same hand-held framing technique
Friedberg, The Virtual Window, 20711. in De grote vakantie/The Long Holiday (2000, NL,
15. Sitney, P. Adams, Visionary Film: The American 142 mins.) when filming from inside another Land
Avant-Garde, 19432000, 3rd ed. (Oxford: Oxford Rover as they travel over hills in Napal.
University Press, 2003), 332. 28. Bergala, ‘On Photography as the Art of Anxiety’, in
16. ‘My study of the prints made it absolutely clear that The Lucid Eye, 25. Oja Kodar’s Vrijeme Za . . . /A
the films shared not one single shot between them’. Mark Time For . . . (1993, Cr/It., 99 mns.) also contains
12
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Poetics of the cinematographic frame
sequences shot during actual gun battles in Zagreb 33. Ibid., 201. The original is: ‘Ce qui est important
during the Bosnian War. chez Godard, par exemple, ce n’est ni le cadrage ni
29. Jacques Aumont, The Image, trans. Claire Pajack- le décadrage, c’est ce qui vient sidérer le cadre,
owska (London: BFI, 1997), 118. comme les tracés vidéo à la surface de l’écran,
30. Bonitzer, ‘Deframings’, 199. lignes, mouvements qui déçoivent toute immobilité
31. For a wide-ranging discussion of the frame and film maı̂trisante du regard’. Décadrages, 85.
theory, see: Edward Brannigan, Projecting a Camera: 34. With reference to Numéro deux, Friedberg remarks:
Language Games in Film Theory (London: Routle- ‘In full blown self-reflexivity, Godard asserts control
dge, 2006). of every shot and its combination*images are not
32. Coincidentally, Jacques Derrida’s book on the frame juxtaposed in a random dialectic as in Warhol’s
and the phenomenon of parergonality was first Chelsea Girls’, in Virtual Windows, 216.
published in the same year as Bonitzer’s original 35. Gil Dekel, ‘I am a Painter: Interview with
essay on décadrages: Jacques Derrida, La vérité en Felice Varini’, Poetic Mind 2 (2008): http://www.poe-
peinture (Paris: Éditions Flammorion, 1978), and ticmind.co.uk/2_Questions/Interview_Felice_Varini.
Pascal Bonitzer, ‘Décadrages’, Cahiers du cinéma shtm. See also: Adrian Shaughnessy, ‘Architecture
284 (1978): 715. See also The Truth in Painting, as Canvas’, Creative Review, April 2008, 4044; and
trans. eds. Geoff Bennington and Ian McLeod Felice Varini and Fabiola Lopez, Points of View
(Baden: Lars Müller Publishers, 2004). Varini’s
(Chicago: University of Chicago Press, 1987),
2003 installation at the Place d’Odéon was the
3782. Bonitzer’s essay was subsequently published
subject of a documentary, 7 Lines for 5 Triangles/Sept
in Décadrages: Peinture et Cinéma (Paris: Cahiers du
droites pour cinq triangles (Antoine de Roux, 2004,
cinéma, 1987), and then translated into English by
DVD, Low Wave/Editions Artists at Work). A
Chris Drake. See Pascal Bonitzer, ‘Deframings’, in
comprehensive overview of Varini’s career, includ-
Cahiers du Cinéma: 19731978: History, Ideology,
ing images of his work and bibliographies is avail-
Cultural Struggle, vol. 4, ed. David Wilson (London: able at: www.varini.org
Routledge, 2000), 197203.
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