Document Type : Original Article
Authors
1
PhD of Art Research, Department of Advanced Studies of Art, School of Visual Arts, College of Fine Arts, University of Tehran, Tehran, IranA PhD art research, University of Tehran, Iran
2
A Master’s student in Cinema, Kamal-Ol-Molk University Nowshahr, Iran, Nowshahr
10.30480/dam.2023.4969.1827
Abstract
Framing and composition are topics that are very important in image aesthetics. Cinematic frame is very important because it practically defines the image for us. In cinema and visual arts, the image is one of the most fundamental factors in shaping the structural quality of an artwork, what is seen on the cinema screen is a set of images, so we must first look at the nature of the image and its dimensions. Visual elements such as line, shape, texture, etc., can affect the visual aesthetics and visual structure of the film. Aware of the visual features of these elements, which have an interconnected structure, filmmakers use them to create meaning, advance the story, and convey emotion. Cinema needs image elements to form an image, and the beauty of each image is directly dependent on the proper and conscious use of its constituent elements. On the other hand, for certain reasons, knowing how to frame the film has a greater impact on the audience and engages them in the film for a longer period of time, and through composition in the film, a deeper meaning can be conveyed to the audience without the need to tell them what is going on. On the other hand, the view of a film is like a painter's canvas in a sense: it must be filled and filled in such a way that it makes the viewer see certain things and (not see other things). Therefore, the images must be framed in such a way that they can be linked to the next image, and from this point of view, the director must not only obtain the proportion and balance in his combination of each shot, but must make this combination in such a way that he can create the appropriate sequence. Therefore, at the beginning of this research, we will first deal with the visual elements of the image, and then, based on a case study and with a descriptive-analytical approach, we will examine and analyze selected scenes and sequences of The Grand Budapest Hotel.
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