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Scene Screening of Diamonds of the Night

The movie Diamonds of the Night when evaluated from the perspective of film theory provides definite previews of the balanced junction of film and space to justify the observations in reference to the contemporary film critic model. Hence, from the lense of evaluation Manny Farber’s space theory the same can be explored over the series of scenes of the movie. Under the consideration of the same theory the first scene is a succinct and impressive depiction to build the interest of the audience.
The movie starts with two young men running. They are running to save their lives from their invisible pursuers. They cannot waste any time for rest and for building their momentum. The scene shows that they are on all fours.
The positive space that is important for the viewers is the bodies of two young men and the negative space is the thorny and bushy ground. The running scene and the action of the young men show as the hours have passed, but this is an opening scene of the movie. . Němec uses the camera highlighting the efforts, giving the impression of threat and danger. The perfect depiction of the field of the screen makes the audience feel the chaos of the situation. The heavy breaths and running of the actors, who are shown to be followed by invisible creatures is the dramatic opening that cumulatively adjoins the all the aspects of space. Hence, the movie could be analyzed over the objective of highlighting the aesthetic evaluations of movie in reference to building the sensory excitement of the audience.
This articular scene can be evaluated with the use of the elements that depicts negative and positive spaces. The director uses both of them to emphasize the areas of interest. In this particular scene of the movie the harmony of the balance of the two elements creates a hypnotisis effect. Even though influence variations on the perception of the audience, as for some viewer negative is positive space and vice versa; however, it depends on the eye of the beholder. Nevertheless, the scene proficiently exhibits positive and negative spaces according to the requirements. The anxiety of the scene is supported by the geographical elements that used grass and mud across the vision, the dryness of the weather can be felt from the dry grass. Anybody around can know how difficult it is to walk in such area. However, the actors are running on fours without a break, not consideration the pain. The relationship of space with interconnection psychological and geographical element is the factor that transit audience in the state when they feel half as excited as the actor.
In the very next scene, the actors are shown to reach at a jungle with straight tress all around. At this point, the running speed of the two actors is diminished, they are trembling with fatigue. The long leafless trees with stems that obstruct ways shows that the place has not been explored for long. The dry lips of the actors and their wounded hands shows the exhaustion the actors, but still they both are moving forward (Manny, 211-270). Together all the elements with the intermingling of geographical, psychological and physical space creates a scene with an aesthetic impact. The director has carried the camera across the trees in a follower mode, it gives the audience an impression of following the two actors and running with them along. The space between the two actors and even the viewer is shown to close, even at places it feels that we can reach a person by straightening the arm. The wandering state and the helpless situation are supported with the gestures of the two actors who seems to have escaped to a distance but could not find a way out of the place. At times, it gives a feeling as if the two actors are roaming in a circle and could not move forward. They held their coats tightly to compose themselves against the chaos of the situation. All the illustrations and moves together comprehend an austere combination of all the fields of space (211-270)..
In the third scene, the two individuals are shown to reach by a small pond. The deep breath and bending like a fall over the water is the point which gives a sigh of relief to the actors. The two actors seem very tired, as they have been running for many days and a small pond is perceived as a treasure by them. This scene is a beautiful example of negative and positive spaces (Video Maker).. The pressure is relieved to bite. Across the whole movie the use of black and white screening gives an expression and feelings of pain and loneliness (Film Walrus Review). Not a word is uttered by any of the actors until this moment. The clinking branches, the noise of running, hard breathing sounds and the splashes of water are the elements of geographical and physical spaces that comprehend the devastation. The audience can view ample use of negative space that creates create tension, isolation and struggle (Heinrich and Kleist, 23).. The impact is further strengthened with the movement of camera and actors’ expressions. Together, the kind of spaces, enhanced the effectiveness of negative space. Herein, a combination of negative and positive spaces can be witnessed, while geographical space can be comprehended as negative space the actors continuous progression work as positive space (211-270).
Precisely, it can be concluded that in the movie, the director proficiently utilizes the combination of negative and positive space that grasped the interest the viewers. The movie has been developed with exceptional proficiency over the set of space element. Throughout the scenes there is no single dialogue, the two people are shown as running. However, the viewer does not feel bored for a minute out of profound depiction of the set of space elements. Therefore, the movie should be appaised for its profound picturisation with proficient use of space elements that caters the aesthetic senses competently (David Bordwell).

Works Cited

Heinrich von Kleist and Thomas G. Neumiller. On The Marionette Theatre. The Drama Review: TDR, Vol. 16, No. 3, The "Puppet" Issue (Sep., 1972), pp. 22-26. Web. 16 Feb. 2015. <http://www.jstor.org/discover/10.2307/1144768?sid=21105364359311&uid=3737496&uid=2&uid=4>.
Video Maker. HOW TO EFFECTIVELY USE IN NEGATIVE SPACE IN YOUR SHOTS. 2013. Web. 16 Feb. 2015.
<http://www.videomaker.com/article/15681-how-to-effectively-use-in-negative-space-in-your-shots >.
David Bordwell. McGrawHill The Film Viewers Guide. The McGraw-Hill Companies, Inc., 1221 Avenue of the Americas, New York, NY 10020. Copyright © 2006, 2004, 2001 by The McGraw-Hill Companies, Inc.
Manny Fabre. Farber on Film: The Complete Film Writings of Manny Farber. 2009. Hard cover. 412 pages.
Film Walrus Review. Reviews of Diamond of the Night. 2008. Web. 16 Feb. 2015. <http://www.filmwalrus.com/2008/09/review-of-diamonds-of-night.html >.