Vermeer composition Forbrydelsen cinematography (part 2)

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Adjacent room

Vermeer's painting of the 'Love letter'The viewer of a Vermeer painting is often placed at a distance where they can see the people in the scene and something of the surroundings

This can be in an adjacent room. In the ‘Love letter’ we can see a dull wall in the foreground to the left and linens on the shelves to the right – as if we, the viewers, are in the servants closet wathcing the mistress of the house pass a letter to a servant

The main action is in the centre of the painting, a well dressed lady taking a moment from playing her lute to pass a letter to a less well dressed lady, pressumably a servant. Both women are sunlit from the left hand side. Even though they are looking at each-other Vermeer has contrived a natural pose that bathes both their faces in sunlight

Viewer lying on the floor of the hallway The Killing II regularly uses this technique. A mother and child talk while the viewer watches from floor level in the hallway. Nearly half the frame is taken-up by the plain dark hallway wall on the right

Unlike Vermeer paintings, the light source is in view. It is low and to the left of the frame. Like Vermeer the reflection adds brightness and focus to the picture. The reflected light on the floor traces a line to us, the viewers

To get to this view the camera has slowly moved along the hallway until it revealed the doorway, the people, then the light source. Unlike Vermeer, cinematographers have the additional dimension of time (movement) to play with. The Killing II cinematographers appear to have carefully considered how we move from one place to another, how people, place and meaning are unravelled and intertwined visually

Voyeurs, not participants

Viewer outside the roomThe same technique is used in this mortuary scene. We, the viewer, are in the adjacent room. We can see the door in the forground to the left.  Comparing with high quality programmes like CSI and NCIS, tradtional cinematography – their approaches focus on the faces of the people in the room. We watch the reactions of the people in the room, watch them ask questions, see close-ups of relevant body parts. These traditional approaches place the viewer in the room – a participant in the post-mortem

In The Killing II we are a viewer at a distance. We watch everyone’s body language, listen to the conversation while staying slightly outside… a voyeur…

The few occassions when they break this general theme, and the actor looks directly at the viewer, become more personally impactful moments:
Actor talks directly to viewer

Vermeer composition Forbrydelsen cinematography (part 2)
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