![]() It’s not enough to be visually audacious when you’re shooting a horror film. Michael Goi, ASC, ISC on the set of American Horror Story. Also, Bava’s groundbreaking use of color as a motif for the presence of evil was never more effective than in the segment of his anthology film Black Sabbath titled “The Drop of Water,” in which the increasingly garish color scheme portended the arrival of gruesome death. ![]() Director-cinematographer Mario Bava often used the image of children smiling outside dirty windows to invoke a feeling of dread. Therein lies the key element of horror: dread.ĭread as a visual device can take many forms. ![]() But it’s the irrational that lies at the heart of true horror, the deviation from what we know and accept as real and controllable. ![]() It’s a genre that relies on the filmmaker forming a connection with the viewer in a way that exposes the deepest parts of both their fears. More than any other form of filmmaking, a horror movie requires the cinematographer to tap into primal emotions - the kind we normally suppress as being irrational. Three cinematographers dissect the chilling imagery they created for this trio of unsettling feature projects. ![]()
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