May 9, 2013 |
Every filmmaker in Hollywood worth his final cut has a signature visual flourish that functions something like a filmic fingerprint. For Martin Scorsese, it's the long, uninterrupted tracking shot. For John Woo, the balletic deployment of two-handed gun violence. Wes Anderson never met a painterly tableau he didn't like. And Steven Spielberg favors the slow zoom in just about every one of his movies. J.J. Abrams , meanwhile, tends toward a cinematographic trope that looks, at first glance, like a screw-up -- lens flare -- i.e. intentionally flooding the camera frame with light to deliberately wash out or obscure the imagery on-screen.