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The paper closely examines the film "The Piano" and points out the film's deliberate use of the frame and objectification. The paper aims to demonstrate how the choices made by the cinematographer and the director in how certain shots were set up provide a depth of meaning to this story that would otherwise be lost.
From the Paper:"The cinematography in The Piano, if carefully observed, adds dimensions to the story that could only be observed subtextually--and thus subjectively--in its absence. That is, without the deliberate though subtle choices made by the cinematographer (Stuart Dryburgh) and the director in how certain shots were set up, much of the film's meaning--which could be implied in the text, as well, but could not be extricated from it with any certainty--would be lost. The use of subtle yet all pervasive technique is one of the signs of auteurship that makes this movie as brilliant as it is, and earned both the film and the director numerous awards outside the Academy, including the Palm d'Or for its debut at the Cannes Film Festival. More importantly, however, these techniques tell a far more compelling story.
"It is at first difficult to imagine how a story so simply and beautifully crafted as Campion's script for The Piano lays out could ever be made more compelling. Ada, who stopped talking as a child for reasons never made explicitly clear, has had a daughter through a passionate affair that ended with what amounted to her abandonment."
Cite this Film Review:
Cinematography in Jane Campion's "The Piano" (2012, March 30) Retrieved January 27, 2021, from https://www.academon.com/film-review/cinematography-in-jane-campion-the-piano-150682/
"Cinematography in Jane Campion's "The Piano"" 30 March 2012. Web. 27 January. 2021. <https://www.academon.com/film-review/cinematography-in-jane-campion-the-piano-150682/>