A Station Symphony: Framing the Chaos and Order | JUFS, 2024-26, Film Language 1.1 | Sharob Sinha

"Framing is the art of choosing the parts of all kinds which became part of a set. This set is a closed system, relatively and artificially closed." —  Gilles Deleuze, Cinema 1: The Movement-Image, p. 20


Link: https://youtu.be/zwpUp4ccGbg

The two-minute, forty-one-second video explores film language, capturing the ebb and flow of urban life through a single continuous shot. Through framing, movement, and sound, the video demonstrates how elements within a frame interact, divide, and reunite, creating a dynamic "movement-image" that records time and its variations.

The video opens with people crossing railway tracks, framed by two overbridges, one for vehicles and one for pedestrians, forming parallel lines that structure the composition. The bustling marketplace hums with activity, extending the visual frame into an "out-of-field" space, as Deleuze describes, connecting the visible with the implied. The frame is layered with parallel, diagonal, horizontal and vertical lines formed by train tracks, overbridges, marketplace and distant structures. These geometries, combined with the bustling life, create a saturated composition, rich with interrelated sub-sets, including vehicles, pedestrians, and vendors.

The camera shifts direction to reveal the approaching train, its presence foreshadowed by the soundscape. The camera aligns with the tracks in a low-angle shot, capturing the train's crescendo. At 1:00, the loudest train horn and station announcement punctuate the scene, silencing ambient noise. The train diagonally crosses the screen, dominating the visual field before revealing passengers framed within its windows and doors. The camera’s movement and the train’s motion decompose and recompose the set, generating dynamic interplay among elements. The train enters the frame, its windows and doors forming sub-frames within the larger composition. The train’s diagonal crossing highlights the constant shift in relationships within the frame, embodying Deleuze's "movement-image," where space and time dynamically unfold to produce multiple perspectives. Movement within the set unfolds on multiple levels: the mechanical progress of the train, the organic flow of the crowd, and deliberate camera shifts.

A transition captures the train entering a the station framed by parallel bridges. The crowd resumes its movement, the camera focuses on the feet of passengers and objects (cycles, bags, fruits) symbolizing the ordinary rhythm of life. The video concludes as the ebb and flow of life continues.

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