Breaking Bad: a cinematografia da beleza e do caos

Dave Bunting Jr. acaba de produzir um belíssimo vídeo-ensaio sobre a cinematografia de Breaking Bad. A aridez – presente tanto na paisagem do Novo México como na jornada de Walter White – combinada com ângulos inusitados (que incluem linhas diagonais e pontos de vista de moscas) fazem da série da AMC um marco na linguagem televisual. Confira:

Abaixo parte do texto que acompanha o vídeo, e que pode ser lido na íntegra (em inglês) no site da Indiewire.

“Dave Bunting Jr.’s video essay on Season 3 of Breaking Bad opens with time-lapse landscapes, which are de rigueur establishing shots in TV these days. Here, though, they are uniquely awe-inspiring, in part for their exotic nature (most of us watching the show spend our lives in urban and suburban environments nowhere near plateaus, or even cacti), and in part for how they seem to breathe life into everything—from churning clouds, to rocks whose shapely silhouettes  manage to suggest personalities, to cityscapes that pop colorfully to life as darkness descends upon them. Vince Gilligan’s breaking TV series is filmed so as to be as suggestive—as potentially rich with meaning—as possible.

Breaking Bad’s extended shots also f*** with our sense of scale: The vehicles popping in and out of the gas station move with the speed and directness of hummingbirds or bees. Wendy the meth whore flits into and out of the frame like a fly. Contrast this with the extreme close-up of the actual fly that opens Season 3, Episode 10 (“Fly”), a close-up held long enough to give that creature the weight and ominous presence of a significant carrier of meaning. We expect flies to carry disease, of course, not meaning. But in Breaking Bad the two have been flattened together, a la William Burroughs’ statement that language equals virus.” 

(continue lendo aqui)

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