Establishing long shots in Tom Hooper's THE DANISH GIRL (as well as in THE KING'S SPEECH) are often extremely symmetrical. A variety of wide high or low angles result in convergent vertical lines that add distortion to this central perspective. In THE DANISH GIRL especially, the divisive nature of the central relationship is mirrored in compositions that are divided in the middle (bottom image). This is visible in some of the Paris scenes (which I don't have access to at the moment).
Die Totalen in Tom Hoopers THE DANISH GIRL (wie schon in THE KING'S SPEECH) sind oft extrem achsensymmetrisch. Verschiedene Weitwinkel-Unter- oder Aufsichten führen zu zusammenlaufenden vertikalen Linien, die diese Zentralperspektive verzerren. In THE DANISH GIRL wird die spaltende Kraft der zentralen Beziehung von mittig halbierten Kompositionen wiedergegeben (unterstes Bild). Dies ist speziell schön in einigen Pariser Szenen zu sehen (von denen ich leider keine Bilder zur Verfügung habe).
[RV]
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| There are even stronger examples of forced perspective long shots in the film. Unfortunately, they are not in the clips that are available as yet. |
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