SERIES G
NIGHT FOR DAY
Or maybe Day for Night, being
a (or various) technical process(es) whereby night scenes for cinema films can be shot-by-day.
In this way, Jon Voight's character in 'Deliverance' (John Boorman 1972) sits exhausted on a cliff-top under an acidicly glaring sun which burns like magnesium through the make-believe gloom. The tension seems to increase as a result of the fake obscurity.
Follows on from Pure Floor as a similarly disorientating veiling of reality. Adverse light conditions force us to narrow our eyes and to seek artificial forms of protection or illumination.
Or maybe Day for Night, being
a (or various) technical process(es) whereby night scenes for cinema films can be shot-by-day.
In this way, Jon Voight's character in 'Deliverance' (John Boorman 1972) sits exhausted on a cliff-top under an acidicly glaring sun which burns like magnesium through the make-believe gloom. The tension seems to increase as a result of the fake obscurity.
Follows on from Pure Floor as a similarly disorientating veiling of reality. Adverse light conditions force us to narrow our eyes and to seek artificial forms of protection or illumination.