Die Tiefenschärfe in Snowpiercer

In „Snowpiercer“ machen Regisseur Bong Joon-Ho und sein Kameramann Hong Kyung-Pyo auffallend häufig Gebrauch von der Tiefenschärfe. Immer wieder verlagert er in den engen Gängen des Zuges die Schärfe, sei es zwischen Personen, zwischen einer Person und dem Raum, zwei Gruppen oder dem Innen des Zuges und dem Außen der kalten Schneewüste. Nun sind seit den Tagen von Gregg Toland und Orson Welles schon einige Jährchen vergangen und man kann sich durchaus fragen, inwiefern die filmische Sprache, die von der Möglichkeit einer inneren Montage mit neuen technischen Möglichkeiten zu Beginn der 1940er Jahre maßgeblich geprägt wurde, sich immer noch dieses Stilmittels bedient. Ich schaue mir das vor allem deshalb an einem Unterhaltungsfilm wie „Snowpiercer“ an, weil dort viele Wahrheiten über die Tiefenschärfe verborgen liegen, die sie als Notwendigkeit auslegen und nicht als künstlerische Souveränität. Dennoch findet sich in „Snowpiercer“ gerade, wenn man den Einsatz der Tiefenschärfe betrachtet ein Versäumnis des Films: Die Verwendung des Stilmittels als Ausdruck einer inneren Welt, als wahrhaftig filmische Sprache, die einen POV des Filmemachers jenseits der nach Identifikation lechzenden Klassendynamik erst ermöglichen würde. In diesem Sinn kann man die Tiefenschärfe in „Snowpiercer“ auch als Hau-Drauf-Stilmittel verstehen, dass völlig gefühlslos das poetische Potenzial dieser Technik ignoriert. Ich werde die Aspekte der Tiefenschärfe in „Snowpiercer“ anhand folgender Begriffe untersuchen:

1. Die Tiefenschärfe als Effekt

2. Die Tiefenschärfe als Kompensation für fehlenden Raum

3. Die Tiefenschärfe als Zeichen für Gegensätze

4. Die Tiefenschärfe als Entfremdung

Snowpiercer

Die Tiefenschärfe als Effekt

Snowpiercer

Von im Vordergrund fokussierten Schneeflöckchen, bis zu den betont coolen Einstellungen in Actionsequenzen kann Bong Joon-Ho seine Vorliebe für die Tiefenschärfe kaum zurückhalten. Gedreht auf 35mm scheint er dieses Mittel auch deshalb besonders zu lieben, weil es eines der wenigen Merkmale seines Films ist, das nicht nach einem Videospiel aussieht. Doch der Effekt geht darüber hinaus, ist er doch auch eine Bastion des räumlichen Sehens gegen die 3D-Dominanz im Blockbuster-Genre. Die Tiefenschärfe ermöglicht ein ganz ähnliches, wenn nicht gar überlegenes Gefühl, weil sie-wie im Fall von „Snowpiercer“-ebenfalls blicklenkend und räumlich betonend funktioniert, aber nicht 2/3 des Bildes für unwichtig erklärt. Wer braucht 3D, wenn es Tiefenschärfe gibt, mag man sich fragen. Nun zeigt die Tiefenschärfe bei Bong Joon-Ho zumeist an, dass etwas besonders scharf ist. Nur selten wird auch darauf verwiesen, dass etwas unscharf ist. Dabei liegt genau darin die Chance der Tiefenschärfe. Denn scharf sein, kann heute jeder bei sich zuhause, im Kino kann es auch den Mut zur Unschärfe geben. Zwar spielt der Film an vielen Stellen elaboriert mit den Gegensätzen von Licht und Dunkelheit, Schatten und Sonne oder Vorne und Hinten, aber trotz seiner inhaltlichen Bevorzugung der Schattenwelten gewinnt die Unschärfe nur aus ihrer Relation mit der Schärfe an Bedeutung. Damit will ich sagen, dass alles glänzen muss in einem Film der Klassenkampf zur heuchlerischen Angelegenheit eines kommerziellen Interesses macht, das nicht nur seine Individuen vergisst, sondern auch vor lauter soziologischer Weltanalyse vergisst, dass es Momente außerhalb der Schärfe geben muss, damit eine Welt zum Leben erwacht. Die filmische Welt, die mit der Schärfe den Blick einnimmt, ihn gefangen hält, ihn am Streifen über das Bild hindert, ist nichts anderes als billigeres 3D und wird immer nur in einen Zug gequetscht, der keine Wahrheit, sondern nur aufgesetzte Spannung transportiert. Das wird insbesondere dann frappierend, wenn Bong Joon-Ho es für richtig erachtet, die Blicke der oberen Schicht auf die untere Schicht mit Tiefenschärfe anzuzeigen und die Blicke der unteren Schicht auf die obere Schicht auch. Es entsteht die Frage, warum uns ein streifender Blick verneint wird, wenn der Regisseur selbst formal schon keinen dezidierten Blick hat. Es scheint mir dafür nur zwei Antworten zu geben: 1. Die Tiefenschärfe soll uns hier etwas über den Raum sagen, nicht über die Figuren und ihre soziale Gefühlswelt. 2. Bong Joon-Ho mag die Tiefenschärfe und verwendet sie gern. Für den zweiten Punkt sprechen die zahlreichen verspielten Schärfenverlagerungen, die ein wenig an beginnende Kameramänner erinnern, die zum ersten Mal diese Möglichkeit an einem Gerät entdecken.

Die Tiefenschärfe als Kompensation für fehlenden Raum

Snowpiercer

Eigentlich ist es doch ganz logisch. Wenn man sich als Filmschaffender die Frage stellt, wie man ein aufregendes visuelles Design erstellen kann, in einem Film, der fast durchgehend in einem fahrenden Zug spielt, dann wird man früher oder später mit dem Einsatz der Tiefenschärfe konfrontiert werden. Diese ermöglicht einfach ein räumliches Gefühl, eine-wie der Name sagt-Tiefe im Raum, die der drohenden Monotonie eine scheinbar unendliche Palette an möglichen Einstellungen und Blickwinkeln gegenüberstellt. Auf diese Art gelingt es „Snowpiercer“ insbesondere zu Beginn ein Gefühl für die Enge (oder besser: den Dreck), in der die Unterschicht leben muss, zu vermitteln. In einem langen Gespräch zwischen Curtis und Edgar wird zudem nicht nur auf deren Verhältnis geschlossen, sondern retrospektiv auch auf die innere Schuld, die Curtis in Verbindung mit dem jungen Mann plagt, der wie ein Schatten im Bett unter ihm liegt. Der räumliche Effekt der Tiefenschärfe deutet auch auf die Motivation der Protagonisten hin, denn deren Ziel ist das Erreichen der Spitze des Zuges ist. Diese verbirgt sich in der Tiefe des Ganges, hinter zahlreichen Türen, die sich wie in eine unbekannte Unendlichkeit erstrecken. Auf narrativer Ebene setzt Bong Joon-Ho der Unsicherheit, die durch die Tiefe und Unbekanntheit des Raumes evoziert wird, ein aufklärendes Element entgegen und verrät dadurch nicht nur seine Bilder, sondern auch einen essentiellen Spannungspunkt seines Film. Die Figur Yona ist nämlich in der Lage, durch Türen hindurch zu sehen. Damit werden die vom Set-Design wunderbar installierten Möglichkeiten zur Unsichtbarkeit, zur Unschärfe weiter eliminiert. Es beginnt ein merkwürdiges Wechselspiel zwischen Transparenz und Ungewissheit und man mag mir Recht geben, wenn ich sage, dass man sich ob der Spannung und auch ob der Frage nach dem Blick des Autors wünschen würde, dass ein wenig mehr Ungewissheit herrschen würde. Aus ähnlichen Gründen der räumlichen Eingeschränktheit hat dies in letzter Zeit beispielsweise „Locke“ von Steven Knight deutlich besser gemacht (auch wenn er zu oft schneidet). Es scheint doch so: Die Transparenz im Zug geht von vorne nach hinten und die Unschärfe von hinten nach vorne. (Transparenz im Film, das sind zum Beispiel die Telefone, die Kontrolle über Licht, die Fenster, die Größe der Räume, die Helligkeit etc) Der Film folgt Protagonisten von hinten nach vorne. Er tut dies mit einem offensichtlichen Blick aus Sicht der Protagonisten, den er aber nicht formal, nur narrativ bedient. Und deshalb herrscht eine Klarheit gegenüber dem Raum, wo eigentlich Unsicherheit ist. Man merkt, ich ende immer am selben Punkt. Noch aber bin ich nicht bei jenem Aspekt angelangt, den ich als das größte Versäumnis von „Snowpiercer“ im Verhältnis zur Tiefenschärfe ansehe.

Die Tiefenschärfe als Zeichen für Gegensätze

Snowpiercer

This Way

Snowpiercer

Or That Way

Pier Paolo Pasolini hat zu seinem „Salò o le 120 giornate di Sodoma“ geschrieben, dass die Bedeutung in der Form liege. Er hat sich in seinem Leben viele Gedanken zum poetischen Potenzial der filmischen Sprache gemacht und zudem hat er als polemischer Marxist immer wieder aus der Sicht Unterdrückter Filme gemacht. Doch man kann mit großer Sicherheit sagen, dass er niemals die Regierenden und die Unterdrückten mit einer Orgie aus Schärfe und Unschärfe gegenübergestellt hätte, die mit dem Holzhammer in „Snowpiercer“ deren Relation anzeigt. Am auffälligsten ist die Verwendung der Tiefenschärfe als Indikator für Klassengegensätze, wenn Mason vor die Unterdrückten tritt und ihnen erklärt, dass sie an ihrem angestammten Platz leben. Bei Pasolini dagegen zeigt die Form immer ein inneres Leben an. Deshalb wirkt alles klinisch und symmetrisch in „Salò“, deshalb wird die Tiefenschärfe in „Edipo Re“ immer extremer. Dabei geht es Pasolini weniger um eine Identifikation, sondern um die Möglichkeit der Neutralität in der subjektiven Darstellung. Er verglich sein Vorgehen mit jenem einer indirekten Rede in der Literatur. Man sieht es etwas, in der Art, in der es die Figur und/oder der Autor sehen (bestenfalls teilen Protagonist und Autor ihre Sicht auf die Welt) und folgt dem ganzen distanziert. Was Bong Joon-Ho macht, erinnert dagegen mehr an agitatorische Identifikationsrhetorik aus dem frühen sowjetischen Film. Das ist für sich genommen gerechtfertigt, allerdings wechselt er (ich komme wieder zu meinem Punkt) dabei ständig die Perspektive, als wolle er anzeigen: Eine Vereinigung ist nicht möglich, weil alle auf unterschiedlichen Planeten leben. (der Planet der Schärfe und der Planet der Unschärfe) Er verpasst es mit seiner Tiefenschärfe von der Wechselwirkung zwischen Oben und Unten zu erzählen. Trotz Schärfenverlagerungen wird mit ihr nur die Starrheit eines Systems angezeigt, denn die Menschen stehen hier für eine größere politische Idee und diese Parabelhaftigkeit wird mit dem ständigen Spiel zwischen Scharf/Unscharf und der räumlichen Gegenüberstellung bis zur Schmerzgrenze betont. Diese formelle Kleinigkeit wirkt auf schmerzliche Weise konträr zur eigentlichen Haltung des Films, der Veränderung und Aufbruch propagiert und ein humanistisches Weltbild fordert. So sehen wir in der Tiefenschärfe weder die Sicht der Unterdrückten, noch jene deutlich klinischere der Unterdrücker. In der Form liegt immer auch ein politisches Potenzial, womöglich sogar das einzige politische Potenzial. Nun mag man mir vorhalten, dass ich viel zu viel hineinlege in einen Actionfilm. Aber gerade dieses Genre eignet sich hervorragend, um politische Haltungen subtil zu vermitteln, wie die amerikanische Filmgeschichte vom Anti-Nazi bis zum Anti-Russland Kino immer wieder gezeigt hat. „Snowpiercer“ ist-ganz ein Produkt seiner Zeit-übermäßig um politische Korrektheit bemüht (man achte auf die Ausgeglichenheit von Geschlecht und ethnischer Herkunft) und stets werden die Ungerechtigkeiten von Oben nach Unten thematisiert. Nun hatte Bong Joon-Ho die Möglichkeit diese Haltung mit einer klar positionierenden Form zu unterstützen oder er hatte die Möglichkeit sie gewissermaßen zu entfremden, sie zur freien indirekten Rede zu machen. Aber der überschätzte koreanische Regisseur vermag lediglich mit seiner Form zu sagen: Da sind Gegensätze! Er findet keine Möglichkeit uns filmisch zu vermitteln welcher Art diese Gegensätze sind, welche Position er dazu hat und ob diese Gegensätze stabil oder fragil sind. Am Ende des Tages ist die Schärfenverlagerung von einer Waffe auf ein zitterndes Gesicht, dann nicht der Schlag in den Magen, der es sein sollte, sondern lediglich ein Ausdruck technischer Fähigkeiten zur Herstellung konventioneller Bildsprachen. Es wäre aufregend gewesen, wenn die Unterdrückten immer nur als unscharfer Schatten fungieren würden in diesen Szenen genauso wie es spannend gewesen wäre, die Unterdrücker als unscharfe Bedrohung, als Untouchable am anderen Ende des Zuges zu inszenieren. Dadurch wäre auch eine Haltung des Filmemachers erwachsen.

Die Tiefenschärfe als Entfremdung

Snowpiercer6

„Snowpiercer“ verzichtet fast gänzlich darauf zu vermitteln wie es sich anfühlt 17 Jahre unter solchen Bedingungen zu leben. Erstaunlich ist, dass die Menschen zwar davon erzählen und zum Beispiel kurze Schocks bekommen, wenn sie vom Licht geblendet werden, aber ihre Wahrnehmung der Welt nicht darunter gelitten zu haben scheint. Dabei würde gerade die Tiefenschärfe die Möglichkeit beinhalten, anzuzeigen, inwiefern man sich-gerade im Hinblick auf die abstruse Backgroundstory von Curtis-von sich selbst entfremdet. Wo ist der Schutzwall, den die Überlebenden in ihrer Wahrnehmung aufgebaut haben müssen? Wo ist ihre Leere? Wo ist ihre Dauer? An dieser Stelle mag man nun wirklich einwenden, dass es niemals das Ziel von „Snowpiercer“ sein kann, ein menschliches Drama zu erzählen. Darum geht es auch nicht, sondern lediglich darum wie einfach und subtil der Film ein Gefühl für diese Figuren mit der Tiefenschärfe hätte erreichen können und wie er trotz seiner häufigen Verwendung dieses Stilmittels nicht ein einziges Mal in die Verlegenheit kommt es zu tun. Lediglich ganz am Ende, wenn Curtis für einige Momente alleine im Herz des Motors steht und alles um ihn herum unscharf wird, erfährt man einen solchen Moment. Der Gedanke von Bong Joon-Ho ist, dass man in einer solchen Umgebung niemals alleine sein kann, dass also so etwas wie inneres Leben, wie Nachdenken kaum stattfindet. Aber gerade das Fehlen dieser Rückzugsmöglichkeiten etabliert doch eine solche Entfremdung. Man merkt der Bildsprache nicht an, dass dieser Zug ein Gefängnis ist. Wenn ein Film eine ganze Welt in einen Zug verlegt, dann wird er sich solchen existentialistischen Themen stellen müssen. Insbesondere, wenn er am Ausgang damit wartet, dass alles Teil eines größeren Plans ist. „Snowpiercer“ bedient diese Gefühlslage inhaltlich, indem er von gescheiterten Fluchtversuchen und von Gefängniskonstellationen erzählt, nicht aber formell. Man denke beispielsweise an die klaustrophobischen Gänge in „Das Boot“ von Wolfang Petersen oder an die verunsichernden Weitwinkel-Unschärfen in Denis Villeneuves „Incendies“. (Ich nenne hier bewusst Filme, die wie „Snowpiercer“ einen Unterhaltungsanspruch haben; wenn man mit der Tiefenschärfe bei Michelangelo Antonioni beginnen würde, wäre das unfair) Dort wird der Raum als eine Beschreibung des Lebens spürbar. Dies geschieht nicht in „Snowpiercer“ und das ist ein großes Versäumnis des Films. Ich fühle nicht, was diese Menschen erleben und deshalb erscheint mir ihr Begehren, ihre Revolution als abstrakte, intellektuelle Idee statt als Notwendigkeit. Einzig eine auch technisch interessante Schärfenverlagerung von der zerstörten Eislandschaft draußen auf das Fenster, das vor dieser Welt zugleich schützt und sie verhindert, zeugen von einer Sehnsucht, die auch in den Bildern greifbar wird.

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  52. Concerning me and my spouse we have owned added MP3 players previously mentioned the several years than I can count, such as Sansas, iRivers, iPods (classic & touch), the Ibiza Rhapsody, and so forth. But, the very last couple of many years I’ve solved down to a single line of avid gamers. Why? Because I was satisfied towards take a look at how well-designed and exciting towards retain the services of the underappreciated (and widely mocked) Zunes are.

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  62. I will products this assessment in direction of 2 types of people in america: latest Zune householders who are contemplating an up grade, and human beings attempting in the direction of decide between a Zune and an iPod. (There are other gamers worth considering out there, including the Sony Walkman X, still I assume this presents oneself ample details in the direction of make an informed alternative of the Zune vs gamers other than the iPod line as effectively.)

  63. 485634 529565You made some decent points there. I looked on the internet for the concern and located most individuals will go along with together with your site. 686000

  64. Thanks for your ideas. One thing I have noticed is always that banks and also financial institutions know the spending behaviors of consumers and as well understand that a lot of people max outside their own credit cards around the trips. They properly take advantage of this particular fact and then start flooding ones inbox in addition to snail-mail box using hundreds of 0 APR credit card offers just after the holiday season closes. Knowing that when you are like 98% in the American open public, you’ll soar at the opportunity to consolidate credit debt and switch balances towards 0 interest rates credit cards.

  65. Sorry for the large examine, nonetheless I am really loving the contemporary Zune, and assume this, as very well as the ideal critiques some other men and women include written, will aid your self come to a decision if it can be the instantly option for on your own.

  66. Arms down, Apple’s app shop wins by a mile. It’s a significant choice of all forms of apps vs a as an alternative disappointed amount of a handful for Zune. Microsoft consists of programs, especially in the realm of video games, yet I am not positive I would will need towards wager on the future if this part is important in the direction of yourself. The iPod is a substantially far better choice in just that scenario.

  67. Hi, Neat post. There’s a problem with your web site in internet explorer, would check this… IE still is the market leader and a huge portion of people will miss your magnificent writing due to this problem.

  68. The new Zune browser is surprisingly favourable, yet not as beneficial as the iPod’s. It performs perfectly, still isn’t as prompt as Safari, and consists of a clunkier interface. If your self often program upon having the website browser which is not an issue, nevertheless if you’re planning towards read the world-wide-web alot towards your PMP then the iPod’s more substantial exhibit and superior browser could be essential.

  69. This is using a little bit excess subjective, however I a great deal favor the Zune Market place. The interface is colorful, incorporates a lot more aptitude, and some great functions which include ‚Mixview‘ that enable by yourself abruptly look at comparable albums, songs, or other end users related in the direction of what you’re listening towards. Clicking upon one particular of all those will middle on that solution, and a further set of „neighbors“ will occur into perspective, enabling your self toward navigate more than exploring through similar artists, songs, or customers. Talking of end users, the Zune „Social“ is way too excellent entertaining, permitting by yourself identify other individuals with shared preferences and turning out to be friends with them. Your self then can listen in the direction of a playlist designed primarily based upon an amalgamation of what all your mates are listening toward, which is much too exciting. All those worried with privacy will be relieved toward comprehend yourself can stop the public from observing your particular person listening practices if by yourself hence decide.

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  71. I am going to products this evaluation toward Two products of people today: present-day Zune householders who are thinking of an enhance, and These striving in direction of make your mind up involving a Zune and an iPod. (There are other avid gamers relevance thinking of out there, such as the Sony Walkman X, nonetheless I expect this offers you enough data towards produce an aware final decision of the Zune vs avid gamers other than the iPod line as well.)

  72. Definitely believe that which you said. Your favorite reason appeared to be on the internet the easiest thing to be aware of. I say to you, I certainly get irked while people think about worries that they plainly don’t know about. You managed to hit the nail upon the top and defined out the whole thing without having side effect , people can take a signal. Will probably be back to get more. Thanks

  73. Zune and iPod: Highest americans assess the Zune in direction of the Contact, nevertheless as soon as observing how slender and remarkably tiny and light-weight it is, I get it in direction of be a in its place exceptional hybrid that brings together traits of equally the Touch and the Nano. It really is fairly colorful and stunning OLED display is somewhat scaled-down than the contact screen, however the participant by itself feels Really a little bit scaled-down and lighter. It weighs more than 2/3 as much, and is substantially scaled-down within just width and height, while being basically a hair thicker.

  74. I got what you intend, regards for putting up.Woh I am pleased to find this website through google. „Don’t be afraid of opposition. Remember, a kite rises against not with the wind.“ by Hamilton Mabie.

  75. Apple now has Rhapsody as an application, which is a best start out, yet it is presently hampered by the incapacity toward retail store locally upon your iPod, and is made up of a dismal 64kbps little bit price. If this improvements, then it will relatively negate this ease for the Zune, but the 10 songs for each month will nonetheless be a big plus inside Zune Pass‘ desire.

  76. I’m still learning from you, but I’m trying to achieve my goals. I absolutely liked reading all that is written on your site.Keep the tips coming. I enjoyed it!

  77. I am now not positive where you’re getting your information, however good topic. I must spend a while studying much more or figuring out more. Thanks for magnificent information I used to be looking for this info for my mission.

  78. Apple previously consists of Rhapsody as an application, which is a exceptional start off, but it is at present hampered by means of the lack of ability towards shop locally upon your iPod, and incorporates a dismal 64kbps bit price. If this adjustments, then it will somewhat negate this benefit for the Zune, still the 10 songs for every month will nevertheless be a large plus inside of Zune Pass‘ like.

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  80. If you happen to be nevertheless upon the fence: seize your favourite earphones, head down toward a Ideal Purchase and inquire towards plug them into a Zune then an iPod and view which a single appears far better in the direction of your self, and which interface produces your self smile far more. Then you can expect to notice which is straight for you.

  81. In between me and my spouse we’ve owned far more MP3 players earlier mentioned the several years than I can rely, like Sansas, iRivers, iPods (classic & touch), the Ibiza Rhapsody, and so forth. But, the very last couple years I have solved down toward just one line of gamers. Why? Considering that I was pleased to discover how well-designed and enjoyment towards employ the underappreciated (and commonly mocked) Zunes are.

  82. I have mastered some important things through your site post. One other thing I would like to express is that there are numerous games out there designed particularly for preschool age little ones. They contain pattern recognition, colors, dogs, and shapes. These usually focus on familiarization instead of memorization. This keeps little children occupied without experiencing like they are studying. Thanks

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  84. Among me and my partner we have owned a lot more MP3 players previously mentioned the years than I can rely, which includes Sansas, iRivers, iPods (classic & touch), the Ibiza Rhapsody, etcetera. But, the final number of several years I have solved down in direction of one line of players. Why? Given that I was happy toward take a look at how well-designed and fun in direction of seek the services of the underappreciated (and widely mocked) Zunes are.

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