CHFA | Global Languages Senior Colloquium
Censorship, Creativity, and Camera: The Use of Camera Angle in Two Films by Carlos Saura
Abstract/Description
Asher Cunningham is studying Spanish, Engineering Physics (Electrical Track) and Math. He will graduate in spring 2025, at which time he plans to work in a steel mill as a process control engineer. He recently went to a Microcenter (which sells electronic items) for the first time – luckily, friends were there to prevent him from buying one of each. He likes animals, so he does not think armadillos would make good bowling balls. He also enjoys sports, which is why he is one of Murray State’s baseball managers. He does not do shots, except with a basketball - he is the reigning Murray State Intramural Three Point Competition champion. This was supposed to be brief.
Censorship, Creativity and Camera: The Use of Camera Angle in Two Films by Carlos Saura
Censorship and its effects on literature, film and art are frequently studied. Specifically, the ways that artists and directors attempt to avoid censorship are of particular interest. However, studies of film tend to focus on soundtracks and symbolism, omitting other methods of expression. In this project I show that this is an oversight: camerawork and camera angle are important ways of evading censorship in films. To prove this, I compare the camerawork in two of Carlos Saura’s films: Raise Ravens… (1976), which was filmed during the dictatorship of Francisco Franco (1939-1975), and Hurry, Hurry (1981), which was filmed after Franco’s death in 1975. These movies are ideal to compare: in addition to having the same director, they also have the same crews – the same cameraman and producer. The censorship prevalent during Franco’s dictatorship caused Saura to utilize contrast between high and low angle shots in Raise Ravens… and avoid using scenes in historically charged settings that he did not in the post-Franco Hurry, Hurry. The role of censorship in supporting dictatorships is critical, and Saura’s utilization of camera angle to evade it in Raise Ravens… is both creative and effective – as is his ability to communicate more explicitly post dictatorship. This paper shows an alternative method used by Saura to avoid the censorship of his time. A study of some of his contemporaries (such as Victor Erice) to show whether his creativity was employed by other directors would be fascinating.
Censorship, Creativity, and Camera: The Use of Camera Angle in Two Films by Carlos Saura
Asher Cunningham is studying Spanish, Engineering Physics (Electrical Track) and Math. He will graduate in spring 2025, at which time he plans to work in a steel mill as a process control engineer. He recently went to a Microcenter (which sells electronic items) for the first time – luckily, friends were there to prevent him from buying one of each. He likes animals, so he does not think armadillos would make good bowling balls. He also enjoys sports, which is why he is one of Murray State’s baseball managers. He does not do shots, except with a basketball - he is the reigning Murray State Intramural Three Point Competition champion. This was supposed to be brief.
Censorship, Creativity and Camera: The Use of Camera Angle in Two Films by Carlos Saura
Censorship and its effects on literature, film and art are frequently studied. Specifically, the ways that artists and directors attempt to avoid censorship are of particular interest. However, studies of film tend to focus on soundtracks and symbolism, omitting other methods of expression. In this project I show that this is an oversight: camerawork and camera angle are important ways of evading censorship in films. To prove this, I compare the camerawork in two of Carlos Saura’s films: Raise Ravens… (1976), which was filmed during the dictatorship of Francisco Franco (1939-1975), and Hurry, Hurry (1981), which was filmed after Franco’s death in 1975. These movies are ideal to compare: in addition to having the same director, they also have the same crews – the same cameraman and producer. The censorship prevalent during Franco’s dictatorship caused Saura to utilize contrast between high and low angle shots in Raise Ravens… and avoid using scenes in historically charged settings that he did not in the post-Franco Hurry, Hurry. The role of censorship in supporting dictatorships is critical, and Saura’s utilization of camera angle to evade it in Raise Ravens… is both creative and effective – as is his ability to communicate more explicitly post dictatorship. This paper shows an alternative method used by Saura to avoid the censorship of his time. A study of some of his contemporaries (such as Victor Erice) to show whether his creativity was employed by other directors would be fascinating.