Michael Ballhaus and Vilmos Zsigmond’s Image Composition E-Book

Istvan Pinter

• Herausgeber: GRIN Verlag
• Sprache: Englisch

Veröffentlichungsjahr: 2025

Beschreibung

Bachelor Thesis from the year 2019 in the subject Communications - Movies and Television, grade: A, London Metropolitan University, language: English, abstract: This bachelor's thesis examines the image composition in the sequence shots of Goodfellas (1990) by Martin Scorsese and The Bonfire of the Vanities (1990) by Brian De Palma, created by renowned cinematographers Michael Ballhaus and Vilmos Zsigmond. The focus is on the analysis of two iconic sequence shots: the Copacabana scene from Goodfellas and the opening scene from The Bonfire of the Vanities. Using qualitative film analysis, the visual aesthetics, camera movements, lighting, and technical specifications are examined to identify differences and similarities in the working methods of the two cinematographers. The study demonstrates how Ballhaus and Zsigmond use their unique styles to support the narrative of the films, creating emotional and narrative depth. The Copacabana scene in Goodfellas is known for its complex choreography and the use of Steadicam, immersing the viewer in the world of the Mafia. Ballhaus employs light and color to enhance the atmosphere of the scene. In The Bonfire of the Vanities, Zsigmond uses anamorphic optics and dynamic camera movements to portray the satirical world of protagonist Sherman McCoy. The thesis delves into the technical aspects of the shots, such as the use of Super-Speed lenses, Steadicam techniques, and lighting design, while also addressing the challenges of executing these sequence shots. The work concludes with a discussion of the findings and suggests further research, such as a complete analysis of the films or a deeper exploration of the technical aspects of cinematography. This study is a valuable contribution for film students, cinephiles, and aspiring cinematographers seeking to learn more about the art of image composition and the techniques of two of the most influential cinematographers in film history. With its clear structure, thorough research, and critical engagement, the thesis not only provides insight into cinematic practice but also reflects on the importance of image composition in film storytelling.