2. Method

We examine Deakin’s photography direction through a mixed-method, using qualitative and quantitative techniques to “use the strengths of both types of inquiry, combining them and trying to minimise their potential weaknesses” (Hernández-Sampieri, 2014: 532). We started the research with an initial hypothesis to attempt to verify it. We developed a sequential exploration following Casasempere’s (2020) approach:

Source: Prepared by the authors. Based on the Casasempere outline (2020)

The qualitative content analysis technique allows us to interpret the filmed texts. Based on a visual reading as a tool for collecting information (Andreu and Perez, 2006), it is structured into several phases: (a) observation of the object of study-viewing the selected works-; (b) data collection; (c) analysis of feature-length films; (d) identification of the frequency of the use of the research variables; (e.) coding; (f) obtaining results and interpretation; and (g) conclusions.

The quantitative procedures are applied to measure the frequency of using the typologies in the first category analysed (the frames).

2.1. The sample

The selected feature-length films were chosen as a sample for several reasons: to analyse works made in different periods (late 20th century, early 21st century, and current decade) and by other directors, selecting two narratives from each of them. Regarding Fargo, this work marks the consolidation of his working relationship with the Coen brothers1, the two creators with whom Deakins has worked the most in his career to date (he has directed photography in more than ten of their films). This is also an essential element in his filmography (his second Academy nomination for Best Photography, 1997). In The Man Who Wasn’t There, we believe that black and white photography enables us to study a different perspective of compositional-cinematographic creation. Regarding Sicario, it is his most important work before receiving the Academy Award (2017). Finally, Blade Runner 2049 is selected because his work on this film received recognition from academics in the cinema industry, winning his first Oscar in Best Photography (2018).