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Echoes #15

Camera movement and body placement transcend social class in Nicholas Ray's "Bigger Than Life" and Raoul Walsh's "Regeneration".
From Nicholas Ray's Bigger Than Life (1956):
From Raoul Walsh's Regeneration (1915):
 Part of our on-going series, Echoes.
It is interesting that Ray creates his patterned tension between red and white (left and right) but also mid-center frame and the bottom right milk container, where all tension is directed towards the father off screen right, but Walsh places the father in a more discomforting position on screen left in a tensive relationship of center and left, which happens to be in conflict with the empty plate directly below the child (an opposing tension of up and down). Ray’s frame suggets an emotive tension that results from the saturation of the boy’s red shirt and the voided neutrality of the milk, suggesting a self-imposed guilt on part of thie child, since all conflict works outword from center frame, where as Walsh’s composition seems to imply a wrongly imposed guilt because attention upon an empty plate is a choice of our attention over completing the missing father two tensions in conflict with each other -and perhaps (in contrast to Ray) imply an externally-imposed guilt on part of the boy Fascinating contrasts that clearly reveal the difference of each director’s relation of the individual to society!

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