Wednesday, 24 October 2012

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Game of Thrones: "Lord Snow," you're no bigger than a half-man* Since I have two classes to devote to "Lord Snow," the third episode in the first season of Game of Thrones, I thought I'd divide them between the characters. In this post and the next we'll hie to the Wall with Jon Snow and Tyrion Lannister; in the final one, we'll churn through the Dothraki Sea with Daenerys Targaryen. I'm pairing Jon and Tyrion not simply because of the odd bond they form on the way to the Wall, but because they present similar problems to director Brian Kirk: both must be built up, knocked down, and rebuilt. As you recall, in the first episode of the series Jon Snow's the victim of Catelyn Starks's redirected aggression: she can't stop Ned from taking Bran to an execution, but she can glower at her husband's bastard from above. Then he decides to take a position in the Night's Watch, which means leaving Winterfell and joining his "black brothers" on the Wall. So lowly Jon Snow arrives at the Wall and finds himself a trained fighter among thieves and rapists and people who believe they deserve the nickname "Ser Piggy." In this lot, lowly Jon Snow isn't nearly so lowly. Director Kirk establishes that when in a prolonged training sequence early in the episode: Everyone in this long shot is diminished by its dimensions: Ser Alliser Thorne, who likes Jon not one whit, is the closest to occupying frame-center, but the scale's so small that his figure can hardly be said to "dominate" the shot: My patented yellow-line-technology demonstrates that frame center's about a foot above his head, but it also reveals something else about the Wall's intended scale: all of the sparring combatants are in the bottom triangle, and all of the spectators are in the the one on the right, which leaves the top and left triangles empty of people. (Note: I'm officiating the next two frames like a football ref with a sketchy understanding of what constitutes an offside position.) The compositional weight of the left and top frames seems to bear down on the tiny figure in bottom one, such that even the foremost among them, Alliser, cedes center-frame to a weathered baluster. All of which is only to say that, initially, Kirk continues shooting Jon with the same disdain that came from Catelyn's eyes. Until: He cuts to a medium shot in which a weathered baluster still occupies center frame—except in this case it creates a telling vertical element that divides the frame between Alliser and Jon like so: It's close enough for government work—which might cause those who have finished the novels to chuckle—but the basic point is that the purpose of this scene is for Alliser to break Jon, but that frame speaks to his inevitable failure. They each occupy the central position of their respective sides, but the importance of each is tempered by the unusally high level of framing: As noted previously, unusally high levels of framing—by which I mean shots in which...

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