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    Black Swan

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    Rossana Mendes Fonseca
    The document provides a summary of the cinematography techniques used in Darren Aronofsky's film Black Swan. It discusses how cinematographer Matthew Libatique uses lighting, camerawork, and color symbolism to reflect the psychological transformation of the main character Nina and create tension. Key points made include how dimly lit intimate spaces contrast with brightly lit wide scenes, how the color pink symbolizes Nina's ballet persona, and how camera angles are used to confront the viewer during dance sequences and show Nina's double perspective when facing her dark doppelgänger.

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    Attribution Non-Commercial (BY-NC)
    Download as PDF, TXT or read online from Scribd

    Black Swan

    Uploaded by

    Rossana Mendes Fonseca
    65 views2 pages
    The document provides a summary of the cinematography techniques used in Darren Aronofsky's film Black Swan. It discusses how cinematographer Matthew Libatique uses lighting, camerawork, and color symbolism to reflect the psychological transformation of the main character Nina and create tension. Key points made include how dimly lit intimate spaces contrast with brightly lit wide scenes, how the color pink symbolizes Nina's ballet persona, and how camera angles are used to confront the viewer during dance sequences and show Nina's double perspective when facing her dark doppelgänger.

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    The document provides a summary of the cinematography techniques used in Darren Aronofsky's film Black Swan. It discusses how cinematographer Matthew Libatique uses lighting, camerawork, and color symbolism to reflect the psychological transformation of the main character Nina and create tension. Key points made include how dimly lit intimate spaces contrast with brightly lit wide scenes, how the color pink symbolizes Nina's ballet persona, and how camera angles are used to confront the viewer during dance sequences and show Nina's double perspective when facing her dark doppelgänger.

    Copyright:

    Attribution Non-Commercial (BY-NC)
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
    65 views2 pages

    Black Swan

    Uploaded by

    Rossana Mendes Fonseca
    The document provides a summary of the cinematography techniques used in Darren Aronofsky's film Black Swan. It discusses how cinematographer Matthew Libatique uses lighting, camerawork, and color symbolism to reflect the psychological transformation of the main character Nina and create tension. Key points made include how dimly lit intimate spaces contrast with brightly lit wide scenes, how the color pink symbolizes Nina's ballet persona, and how camera angles are used to confront the viewer during dance sequences and show Nina's double perspective when facing her dark doppelgänger.

    Copyright:

    Attribution Non-Commercial (BY-NC)
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
    of 2

    B LACK S WAN ON CINEMATOGRAPHY

    Darren Aronofsky returns to the cinematography joined by his

    habitu
    movies. in

    Matthew As the

    Libatique, many

    the

    cinematographer Libatique an

    for

    all in

    his what of

    movies

    directed

    concerns their cinematography, Black Swan isnt an exception providing the viewers with intense sequence captivating images that drives them to a complex plot about the encounter of the self with its other self manifested in the What shape of an obscure

    persona who emerges in the mirror


    has already of presented the ambiance in of

    surface. Matthew Libatique

    Pi

    and

    Requiem Swan

    for

    Dream
    the a

    in

    matters ambiances sharp dim

    visual narrow and

    expression of an excessive obsession, happens again in Black through lit in dark very of some intimate spaces light. These obscure

    mysterious kind of scenes are opposed to the ones where big wide spaces lit in a bright diffuse light create a constant tension that concurs with the main character's affections. The colors that take part in the intermediation of Nina's self-transformation are also chosen as symbols of a kind of behavior and pre-disposition that the characters shows along the film. For wears she instance, a lot of the pink color fact and that is Nina (the by main pink, to character) gradually surrounded from

    which is connoted to ballet, but also to sweetness, and that makes this disappear her way dress, suggests the formation of another persona. An important scene to remark is one of the beginning scenes in which Nina performs the swan dances, where the camera is alternating from follow shots to medium close-ups, capturing the light movements of a of a dancer dance perfectly and, at performing the same the smoothness swan's time,

    confronting the viewer with a face and a body of constraint

    @Rossana Mendes Fonseca, 2010

    reflecting, technique.

    the

    fear

    of

    rejection

    and

    perfect

    dancing

    In opposition to this constraint, a black swan dance demands the passion and detachment from a technique in order to enter a deeper level of affection, an unconscious to be delivered to, where the red color of her lips can be observed as its pressage.

    Black

    Swan

    contains

    an

    obvious

    organization

    through

    light,

    but also through color. The character of Nina, depicted as a fragile woman wearing light colors, faces her double in the mirror and in the face of Lilly (Mila Kunis), wearing black and seen as an indulgent figure. The choice for the camera to film from an upper view organized in a subjective shot from Nina's double superior point sense for of view the serpentine of her but showing at movements physical the same of Lily, a perspective although imperfect the the position time, and some Lilly (from and

    standing,

    resentment

    free movements that of of a

    performs, perfectly suitable for the black swan dance.

    Black

    Swan

    celebrates a in

    idea emptied of

    glorious
    its

    body

    Giorgio

    Agamben), enter

    body

    functionality and

    given to a new common use, through many situations where the characters dialogues movement sensuality. Also an ambiance of phantasmagoria is presented in the sharp cold colored images matching the rigid still faces of Nina and her mother Erica (Barbara Hershey), whose desire remains imprisoned in a guilty interiority, which, in Nina's case, will be abandoned so that an excess of life can enter as a disruption and bring some passion, noticeable in the warmth of its new colors. The collapse of an identity visible in the choice of multiple sequenced scenes of alternating faces of Nina and Lilly in the mirror, expressing the dissolution of a face so that an animal unconscious, a

    devenir

    animal ,

    can

    take place in the body of Nina.

    @Rossana Mendes Fonseca, 2010

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