L A M B O R G H I N I

Me gustan los crucifijos

[elartepop]

Carl Heinrich Bloch - The Resurrection (1875) // La Zowi ft. Lorena B - Mi chulo (2016) / El Último Vecino - Mi chulo (2017)

[theouriental]

incredibly inappropriate eva valentines cards

[haramdaddy]

Me taking care of myself all 2018

[johnny-and-the-moon-dogs-blog]

if you’re having a bad day, just look at this photo of robert plant wearing a sunflower costume

[myledzeppelin]

Robert Plant behind the scenes of The Song Remains the Same, 1973. 

[stardustschild]

And it’s whispered that soon, if we all call the tune, Then the piper will lead us to reason.

[ahellakawaiigirl-blog]

things i want to be

really hot

not poor

[innoc3nttt]

[sirsablex]

[retrobanditloser]

mxd/emos.gif

[daxnorman]

Drool Prods

[kiwimaycry]

[ruinedchildhood]

?????????

[fuckthekxng]

what??????

[annocinema]

I started this investigation into Anno’s wide shots assuming that there’d be no way for him to employ his signature foreground-background interaction here.

I was mistaken.

The man found a way to create a foreground in many of his wide shots, despite the fact that wide shots exist to convey the larger setting of a scene.

Now, it’s one thing to be able to do this in shots of a smaller space such as a classroom or hallway.

But to be able to do this in extreme wide shots such as a coastline or an underbridge without adding contrived elements? Genius.

The foreground-background interaction is a powerful method, because it conveys depth in what is otherwise a 2D medium. It forces the viewer to think about the situation presented, and conveys the world as one larger, deeper, and more than just a flat image.

It’s no wonder that Anno loves using this technique so much.

But that’s just what I see. What do you see in these shots? Leave a comment, and share this post with friends who would appreciate content like this! (at Kinokuniya New Jersey)

[opalsandcream]

[catscenter]

[marcuscrassus]

[tastefullyoffensive]