Essay Example on Long Takes in Filmmaking: From Theatrical to Cinematic

The long take in the filmmaking involves the use of the shots running for some duration. Initially, the cinematographers created all the films in the long takes as there was no alternative in the movie creation process. They thus shot the films as single continuous takes or the long take. These early forms of filmmaking inclined more towards theatrical as opposed to being cinematic. Changes in the filmmaking processes, especially during the revolution era has yielded numerous features in the filmmaking. Continuous takes now form part of the aesthetic features in the filmmaking. Hou, in most of his films, uses the long take approach alongside the technical cuts in the filmmaking. However, the films still resemble the stage drama of continuous shots from a static camera attempting to string and connect sequences of narrative segments. The paper analyzes the theory of the long take, specifically from the film Flight of the Red Balloon.

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The theory of the long take in filmmaking involves the use of a combination of the camera movement coupled with elaborate blocking. A number of the productions of Huo applies the concept of the long take. The films entail the camera movement, editing, and an elaborate shot that attempts to create a realistic scene. Although the film has several edited shots, it has an impression that the whole film is taking place in a single continuous shot. The use of the long take and camera movement in the film Flight of the Red Balloon has an aesthetical feature when discussing the aesthetical features employed by Huo in the film. According to Huo, the use of the continuous takes in the film the reality of the film (Suchenski 186). The long takes make it possible for the producer to uniquely use invisible cutting and renderings as well as the deep focus to portray the world’s scenario as it is.

The location for the films and the use of the long-lens were central in the creation of Flight of the Red Balloon. These two components were essential in the creation of the real-life scenario for the film. For the location component, Huo ensured that he captured the most basic and natural setting for the location. For example, when filming the shots of the female student who was living on the downstairs. In this scenario, Hou used the abandoned room as the location for the setting of the scenes (Suchenski 188). A combination of the location for the film and the use of the long take adds aesthetics in the film. In addition to that, a critical analysis of the film indicates that Huo used the long-lens for the filming. Arguably, the long-lenses in the recording of the shots have been a vital part of the long shots. Huo categorically states that he used this type of lenses not only in the film but also in other films. His ultimate goal in these attempts was to create what seems like a constraint that would govern the filmmaking process yielding a more realistic element. Thus, the location for the filming and the use of the natural setting formed a significant part of the theory of the long take in the filming process.

The long take was available in most of the films created by Hou. He used the long takes as the stylistic signature when producing many of his films. Most of these long takes were the solution to the many perpetual practical problems that he encountered in the shoots. Additionally, they helped in emphasizing on the authenticity of his creativity besides adding aesthetic beauty to the films. For instance, he uses the same approach in the creation of the film, A Time to Live, A Time to Die. Therefore, the long take in the film forms significant stylistic signatures for the filmmaker of a high caliber as Hou. To him, it serves as a distinguishing future in the filmmaking process.

An in-depth analysis of Hou’s theory of the long take in the film indicates that he borrowed and blended numerous aspects of other filmmakers to develop the perfect shots. Some of these features include the incorporation of the long takes and the films taken from a distance. The two were specifically essential parts of the Flight in the Red Balloon. According to Hou, this made the film appear and adhere to real-life events. According to Hou, the combination of the long takes and the cinematographer taking a distance position while remaining cooler yielded a “faithful to life” filming experiences (Bordwell 206). Filming in this position ensured that the viewers had one vantage point making them have continuous-time experience. In addition to that, the shots ensured that Hou, in the creation of the film, captures a single particular emotion at any given time.

Communication of the subject and theme of the film seems to be the focus of the director. Just like other films that Hou created, he seems to employ the same method in the creation of this film. His theory of the long take coincides perfectly with his ultimate objective of communicating his ideas to the audience (Bordwell 191). The long take gives him an excellent opportunity to exploit the sense of life that he had observed in the cities of Tokyo and Paris when working on the film (Suchenski 198). Therefore, he used the opportunity to create intellectual scenes based on the straightforward recording from the long take. He not only uses this approach in the movie but also on other films such as Flowers of Shanghai (Bordwell 191). Therefore, the long take in the film creates an excellent opportunity for the subject and theme communication in the film.

In most of his productions, Hou paid close attention to the idea of the invisible observer. The invisible observer means that he was using the long take to create a real-life staging which shaped the filming process (Bordwell 191). Hou uses the camera as the observers’ eyes surveying the series of events taking place in the film. Therefore, shooting and staging are vital in the process of creation of the invisible observer effect. The use of long takes, specific angles of the camera and realistic settings are critical in the creation of the moment-to-moment experience in the film. To some point, Hou uses this concept in the production of Flight of the Red Balloon.

Conclusion

Conclusively, the long take is one of the essential aspects in the creation of films. They are useful aesthetic tools, especially for the films created before the digital era. In the film, Hou uses camera movement in conjunction with the elaborate blocking to create a realistic effect. He uses the long-lens in the recording of the film. The use of the long-lens in the specific location setting helps in achieving a more stylistic signature for the film. Additionally, the long take in the film is essential in the creation of the invisible observer effect that helps in the aesthetics of the film.

Works Cited

Bordwell, David. Figures traced in light: On cinematic staging. Univ of California Press, 2005.

Suchenski, Richard I., ed. Hou Hsiao-hsien. Oesterreichisches Filmmuseum, 2014.