4. Conclusions and discussion

In conclusion, the empirical analysis of the images of Fargo, The man who wasn’t there, Sicario, and Blade Runner 2049 have allowed us to meet the primary objective proposed in the research, given that the study of these four films has focused on examining the composition of the cinematographic image in Roger Deakin’s work. Furthermore, we can affirm that the specific objectives have also been reached since we have observed and examined how framing, light, and colour are expressive elements of constructing the cinematographic story created by Deakins in these selected films.

Likewise, we have verified that there are similarities in the films, a greater use of close-ups (shown in graph 1, 3, 5, and 7), and within the classification of close-ups, the most used compared to others is the medium or bust shot (shown in graphs 2, 4, 6 and 8), intentionality in the application of the colours (shown in the results section), recurrence of spotlighting, thus indicating a constant and frequent use of these resources.

Likewise, and as a consequence of this, we have confirmed that the hypothesis raised can be verified since it is evident that Roger Deakin’s work as a director of photography is crucial to the meaning of the film in which he works. A semantic purpose is conceived in his role as a cameraman, gained in the compositions of the images he creates from the technical-artistic resources he uses- framing, light, and colour- that expressively mark his work.

We can affirm that the creative construction of the images in Deakin’s work is characterised by the recurrence of some of those expressive technical-artistic elements leading us to think that this director of photography has acquired his own style throughout his career. There are several reasons for this. Considering the variables, we observe that in all of the analysed films, as previously mentioned, the predominant frames are close-ups (the most expressive of cinematographic language, as they guide the spectator’s gaze and highlight the characters). It has been used often in the four works (those created by the Coen brothers exceed 50% of the total number of frames, in those carried out by Villeneuve, its repetition is lower, but it is still the most used). This scale’s insistent use, specifically the medium or bust shot, shows the director’s intention. With this recurrence, Deakins can allow the viewer to delve into the characters.

Regarding the second unit of analysis, colour, an enunciative element, corroborates its symbolic connotations, related to emotions, sensations, or associated with specific characters or moments of the plot. Finally, regarding light, we can see

Source: Fotograma Blade Runner 2049

Source: Fotograma Blade Runner 2049

Figure 42. K backlit

Figure 43. Absence of K