The Cinematography of Contact: A Masterclass in Formalism

Directed by Robert Zemeckis, the movie Contact is a thought-provoking adaptation of Carl Sagan's novel. One aspect that sets the film apart from its contemporaries is its cinematography. The camera work is meticulous, with each frame meticulously composed and every move carefully blocked. This attention to detail is evident in the opening scene, where Zemeckis uses a wide shot to accommodate seven characters before trucking left and panning right to focus on Ellie Arroway's interaction with David Drummlin.

As the scene progresses, the camera angles become more intimate, reflecting the growing tension between the characters. The use of over-the-shoulder singles adds a sense of immediacy, drawing the audience into the conversation. Notably, Palmer Joss enters the scene in a frame-left over-the-shoulder shot, shifting the focus to his interactions with Arroway.

Joss's character is an outsider among the scientists, and his presence is marked by special attention from the camera. This is evident in the way Zemeckis uses the camera to highlight Joss's role in the conversation. For example, when Joss crosses to Arroway, the camera dollies in over her shoulder, emphasizing his perspective.

The formalistic approach used by Zemeckis is both understated and effective. Rather than relying on flashy techniques, he lets the characters and their interactions take center stage. This focus on realism is particularly evident in an early party scene where Arroway breaks into a conversation between senior science advisor Dr. 'Drummlin's character' and another group of scientists.

Throughout the film, Zemeckis demonstrates a deep understanding of how to use cinematography to tell a story. His approach is formalistic without being overly simplistic, resulting in a visually stunning movie that complements Sagan's thought-provoking novel. By using careful composition and deliberate camera moves, Contact becomes a masterclass in the art of cinematic storytelling.

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