Pure Cinema Analysis

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Pure Cinema - Hitchcock

Pure cinema:

  • Pure cinema — using strictly visual means, not dialogue, to get across the emotional impact, the feeling of a shot or sequence. Donald Spoto, Hitchcock Biographer 

  • Pure cinema is what we see/hear and finding a way to express that without describing it, literally. Randy thorn. 
  • Pure cinema is communicating through pictures; give the audience something only movies can give you - get words from radio and books, music from records, cd’s and orchestra’s, able to get these somewhere else but only the movies can give you moving pictures. David steritt 
  • A chase sequence is pure cinema, you can’t do a chase in a novel, can’t do it in a painting or a stage. That’s pure cinema. William friedkin
  • It goes behind storytelling, it goes into the creation of atmospheres, and moments that are unique to cinema. One of those moments can be Jamey Stuart following person downtown San Francisco. It’s impossible to experience that in radio, or in theatre, or in painting. Guillermo del toro 
  • Filmmaking is made up of so many different components and crafts and pure cinema is using all of those tools available in making a film to get an emotional reaction. Gary Rydstorm
  • Pure cinema is not needing anything else (other film components) than the visual, and you can understand not only what’s happening but you can also feel what the character’s are going through. Bill Pankow 
  • Putting together bits of films to create a feel. 

 

Key techniques:

  • Able to turn off the sound and still understand the movie. Hitchcock would often refrain from adding sound to his movies, as he feared they’d change from moving pictures to photographs of people talking. 
  • Hitchcock would have several sequences with no dialogue but just the visual for storytelling. 
  • Montage — putting together a combination of shots creates a powerful effect
  • Uses odd/weird/unpleasant shots to create dramatics 
  • Not being able to see intensifies the action for the audience and this is seen through a montage of very quick shots 
  • Uses his own editing techniques. Doesn’t use basic or classic editing styles. 
  • Every cut has an intention 
  • Hitchcock cuts the film up and places it precisely how the audience wants it to be, so that it’ll affect the audience in the strongest way possible. 
  • No montage and no cuts, as characters would move and the camera would move, but wasn’t successful 
  • Subjective camera is more important than the acting and the actors 
  • Hitchcock would measure the height of the actors to make sure they fit perfectly into the frame
  • Counter-pointed editing, where cutting to scenes display intensiveness 
  • Character’s pov stays on one, but switches after and stays on that character, to allow for more tension and suspense
  • Makes the audience look for the so-called villain 
  • Puts the audience through the pov of a murderer 
  • Used close-ups often at the very opening of films, and used it when he knew he had a capably prepared actress 
  • Reeling into the situation quicker by a close-up
  • Used close-ups for a person’s reaction (especially through emotional shots)
  • Wide shots of locations but the emotional shots was close-ups 
  • Uses camera and angles very well to get into the character’s heads

 

Film Techniques

  • Close-ups 
  • Wide shots
  • Long duration 
  • Pov shots
  • Unconventional framing 
  • Orchestral music 
  • Two shots 

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