Why do we see "Accidental Renaissance" in Zack Snyder's "Justice League"?
If you understand art or just like it and have already watched the director's cut of the Justice League, then, probably, many of the shots of the film seemed familiar to you. Or rather, they (shots) could resemble wonderful examples of famous paintings.
The term Accidental Renaissance originated several years ago and refers to contemporary photography, the composition of which randomly assigns us to the examples of the great masters of the painting of the past. But since the art world is very diverse and genres are constantly in active interaction with each other, we can meet such an accidental renaissance not only in photography but also in the art of filmmaking.
The term Accidental Renaissance originated several years ago and refers to contemporary photography, the composition of which randomly assigns us to the examples of the great masters of the painting of the past. But since the art world is very diverse and genres are constantly in active interaction with each other, we can meet such an accidental renaissance not only in photography but also in the art of filmmaking.
This may be partly due to the fact that slow motion is one of the director's favorite techniques. You can hardly name another film director who savors every shot in slow motion. This shows some theatricality, performance, and attention to the details. After all, the set of these shots allows you to see the picture as fully as possible.
Another highlight in the film is composition. In each shot, Snyder, like greatest artists, assigns a certain place to the character, which enhances the picture effect and impact on the viewer. In the shots, you can find both a composition with a pronounced compositional center and a composition using symmetry, ponderation, and the golden ratio. These techniques bring cinema even closer to painting.
An important moment in the work of Snyder is also light and shadow, or rather their interaction. Like the canvases of Caravaggio, the characters are illuminated with light, or they are swallowed up by darkness.
An important moment in the work of Snyder is also light and shadow, or rather their interaction. Like the canvases of Caravaggio, the characters are illuminated with light, or they are swallowed up by darkness.
This game of painting becomes clear when we turn to the personality of the director — Zack's mother was an artist and taught photography and instilled in her son a love of art, and the director himself studied painting in London in his youth. At its core, Snyder is an artist who took a camera in his hands, his canvas is a film strip, and instead of paints and brushes, he has an excellent cast.
